美国语言学家马丁·朱斯对语体的划分为译者对翻译文体的选择提供了实际指导。本文以Directors Tell the Story:Master the Craft of Television and Film Directing一书的翻译为例,参照朱斯对语体的划分,探讨影视制作指导用书翻译...美国语言学家马丁·朱斯对语体的划分为译者对翻译文体的选择提供了实际指导。本文以Directors Tell the Story:Master the Craft of Television and Film Directing一书的翻译为例,参照朱斯对语体的划分,探讨影视制作指导用书翻译的一个关键问题——译者文体风格。该书属于专业指导用书,译者文体风格应与源语文本文体风格保持一致,译者应使用"协商体"进行翻译。展开更多
本文以Directors Tell the Story:Master the Craft of Television and Film Directing(《导演讲故事:影视导演艺术与创作》)一书的翻译为例,探讨影视制作指导用书翻译的两个关键问题——译者文体风格和专业术语翻译。该书属于专业指导...本文以Directors Tell the Story:Master the Craft of Television and Film Directing(《导演讲故事:影视导演艺术与创作》)一书的翻译为例,探讨影视制作指导用书翻译的两个关键问题——译者文体风格和专业术语翻译。该书属于专业指导用书,译者文体风格应与源语文本文体风格保持一致,译者应使用"协商体"进行翻译;对于专业术语的翻译,译者应遵循"准确性"、"可读性"和"透明性"原则,广泛阅读相关专业用书,借鉴约定俗成的专业术语译法,充分利用专业词典和网络资源,寻找专业术语的确切含义并据此进行翻译。展开更多
This article focuses on two English translations of Ji Yun＇s 纪昀 eigh- teenth-century collection of ＂stories of the strange,＂ Random Jottings at the Cottage of Close Scrutiny （Yuewei caotang biji 阅微草堂笔记）. ...This article focuses on two English translations of Ji Yun＇s 纪昀 eigh- teenth-century collection of ＂stories of the strange,＂ Random Jottings at the Cottage of Close Scrutiny （Yuewei caotang biji 阅微草堂笔记）. The translation done by Leo Tak-hung Chan is set within the context of his 1998 sinological monograph, while David Pollard＇s recent translation, published in 2014, stands as an edited volume of translation oriented toward the general reader. Referring to textual and paratextual elements in these two translations, I hope to show how the ＂setting＂ of a translation modulates its tone and message, which in turn unfolds with the selection, style and overall structure of the translation. I also draw from an actual dialog between Leo Chan and David Pollard, which evolves around the various aspects in translating Ji Yun＇s work and the more general issues in sinology and translating Chinese literature. The dialog between the two translators of Ji Yun further illustrates the translators＇ approaches to the original text, their mediating efforts toward crosscultural readability and literary felicity and specifically, how the state of mind of a translator might come into play with the ＂flavor＂ of a translation.展开更多
文摘美国语言学家马丁·朱斯对语体的划分为译者对翻译文体的选择提供了实际指导。本文以Directors Tell the Story:Master the Craft of Television and Film Directing一书的翻译为例,参照朱斯对语体的划分,探讨影视制作指导用书翻译的一个关键问题——译者文体风格。该书属于专业指导用书,译者文体风格应与源语文本文体风格保持一致,译者应使用"协商体"进行翻译。
文摘本文以Directors Tell the Story:Master the Craft of Television and Film Directing(《导演讲故事:影视导演艺术与创作》)一书的翻译为例,探讨影视制作指导用书翻译的两个关键问题——译者文体风格和专业术语翻译。该书属于专业指导用书,译者文体风格应与源语文本文体风格保持一致,译者应使用"协商体"进行翻译;对于专业术语的翻译,译者应遵循"准确性"、"可读性"和"透明性"原则,广泛阅读相关专业用书,借鉴约定俗成的专业术语译法,充分利用专业词典和网络资源,寻找专业术语的确切含义并据此进行翻译。
文摘This article focuses on two English translations of Ji Yun＇s 纪昀 eigh- teenth-century collection of ＂stories of the strange,＂ Random Jottings at the Cottage of Close Scrutiny （Yuewei caotang biji 阅微草堂笔记）. The translation done by Leo Tak-hung Chan is set within the context of his 1998 sinological monograph, while David Pollard＇s recent translation, published in 2014, stands as an edited volume of translation oriented toward the general reader. Referring to textual and paratextual elements in these two translations, I hope to show how the ＂setting＂ of a translation modulates its tone and message, which in turn unfolds with the selection, style and overall structure of the translation. I also draw from an actual dialog between Leo Chan and David Pollard, which evolves around the various aspects in translating Ji Yun＇s work and the more general issues in sinology and translating Chinese literature. The dialog between the two translators of Ji Yun further illustrates the translators＇ approaches to the original text, their mediating efforts toward crosscultural readability and literary felicity and specifically, how the state of mind of a translator might come into play with the ＂flavor＂ of a translation.
