诗学节奏包括但不等同于传统的节奏概念。作为体现语言组织方式、语言主体性和系统性的诗学节奏特征是可以在翻译中再现的。非文学翻译中同样应该重视译文的诗学节奏——译文语言本身的诗学节奏以及译文所再现的原文本的诗学节奏。文章...诗学节奏包括但不等同于传统的节奏概念。作为体现语言组织方式、语言主体性和系统性的诗学节奏特征是可以在翻译中再现的。非文学翻译中同样应该重视译文的诗学节奏——译文语言本身的诗学节奏以及译文所再现的原文本的诗学节奏。文章从非文学翻译中选取典型例句,发现节奏的再现,不仅使得两种语言实现了更深层次的对应——语法、结构、词汇意义之外与原文进一步“切合”,更能使译文升华为完善、适切的高质量译文。非文学翻译中重视译文的诗学节奏是“准确、有效”传递信息的要求,也体现了译者对于语言的敬畏和尊重。The poetics rhythm includes but is not equivalent to the traditional notion of rhythm. The poetics rhythm, defined as the organization of the movement of speech, embodies the subjectivity and systematicity of language and therefore can be reproduced in translation. In non-literary translation, it’s equally important to pay attention to the poetic rhythm of the translation—both the inherent poetic rhythm of the translation’s language and the poetic rhythm of the original text it reproduces. The article selects typical sentences from non-literary translations to explore the reproduction of rhythm, finding that such reproduction not only achieves a deeper correspondence between the two languages beyond grammar, structure, and lexical meaning, getting closer to the original, but it also elevates the translation to a high-quality, accurate, and fitting rendition. Valuing the poetic rhythm in non-literary translations is essential for a “precise and effective” transfer of information and reflects the translator’s reverence and respect for language.展开更多
围绕应该重视原文还是译文这一论点,西方翻译界展开过许多讨论,提出了诸多翻译理论。英国翻译理论家彼得•纽马克认为,无论是强调原语还是目的语都会造成冲突和鸿沟,且这种冲突和鸿沟是理论与实践永远回避不了的问题。为解决这一问题,他...围绕应该重视原文还是译文这一论点,西方翻译界展开过许多讨论,提出了诸多翻译理论。英国翻译理论家彼得•纽马克认为,无论是强调原语还是目的语都会造成冲突和鸿沟,且这种冲突和鸿沟是理论与实践永远回避不了的问题。为解决这一问题,他在著作Approaches to Translation提出了语义翻译和交际翻译理论,并在著作A Textbook of Translation中论证了语义翻译和交际翻译理论的实际运用该理论。本文以纽马克语义翻译和交际翻译理论为指导,通过选取翻译实例进行分析,浅析了非文学文本的日汉翻译,加深纽马克翻译理论的认识与实践。展开更多
文摘诗学节奏包括但不等同于传统的节奏概念。作为体现语言组织方式、语言主体性和系统性的诗学节奏特征是可以在翻译中再现的。非文学翻译中同样应该重视译文的诗学节奏——译文语言本身的诗学节奏以及译文所再现的原文本的诗学节奏。文章从非文学翻译中选取典型例句,发现节奏的再现,不仅使得两种语言实现了更深层次的对应——语法、结构、词汇意义之外与原文进一步“切合”,更能使译文升华为完善、适切的高质量译文。非文学翻译中重视译文的诗学节奏是“准确、有效”传递信息的要求,也体现了译者对于语言的敬畏和尊重。The poetics rhythm includes but is not equivalent to the traditional notion of rhythm. The poetics rhythm, defined as the organization of the movement of speech, embodies the subjectivity and systematicity of language and therefore can be reproduced in translation. In non-literary translation, it’s equally important to pay attention to the poetic rhythm of the translation—both the inherent poetic rhythm of the translation’s language and the poetic rhythm of the original text it reproduces. The article selects typical sentences from non-literary translations to explore the reproduction of rhythm, finding that such reproduction not only achieves a deeper correspondence between the two languages beyond grammar, structure, and lexical meaning, getting closer to the original, but it also elevates the translation to a high-quality, accurate, and fitting rendition. Valuing the poetic rhythm in non-literary translations is essential for a “precise and effective” transfer of information and reflects the translator’s reverence and respect for language.
文摘围绕应该重视原文还是译文这一论点,西方翻译界展开过许多讨论,提出了诸多翻译理论。英国翻译理论家彼得•纽马克认为,无论是强调原语还是目的语都会造成冲突和鸿沟,且这种冲突和鸿沟是理论与实践永远回避不了的问题。为解决这一问题,他在著作Approaches to Translation提出了语义翻译和交际翻译理论,并在著作A Textbook of Translation中论证了语义翻译和交际翻译理论的实际运用该理论。本文以纽马克语义翻译和交际翻译理论为指导,通过选取翻译实例进行分析,浅析了非文学文本的日汉翻译,加深纽马克翻译理论的认识与实践。
