西方翻译理论简介
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(3) a "modern" period, reaching well into the twentieth century, in which the influence of General Linguistics is increasingly dominant (4) the contemporary period, a cultural turn to translation studies.
Cicero (西塞罗公元前 106-前43年, 古罗马政治家、雄辩家)
"I saw that to employ the same expressions profited me nothing, while to employ others was a positive hindrance… Afterwards I resolved to translate freely Greek speeches of the most eminent orators". As a consequence, "I not only found myself using the best words, and yet quite familiar ones, but also coining by analogy certain words such as would be new to our people, provided only they were appropriate" (Robinson 1997a: 7).
Schleiermacher"s preference was for the former. "If the target-language readers are to understand, they must grasp the spirit of the language native to the author, they must be able to gaze upon the author's inimitable patterns of thinking and meaning; but the only tools that the translator can offer them in pursuit of these goals are their own language, which nowhere quite corresponds to the author's, and his own person, his own inconsistently clear understanding of, and vacillating admiration for, the author."
Friedrich Schleiermacher’s "On Different Methods of Translating" ---"the major document of romantic translation theory, and one of the major documents of Western translation theory in general". Schleiermacher distinguished between the "interpreter (Dolmetscher) who works in the world of commerce", and the "translator proper (Ubersetzer) who works in the fields of scholarship and art".
For the true translator, there are only two choices: to "either (1) disturb the writer as little as possible and move the reader in his direction, or (2) disturb the reader as little as possible and move the writer in his direction"
He insisted on “the accurate transmission of the meaning of the text rather than the budding orator's freely ranging imagination“. He introduced "the first major shift in western translation theory“. Jerome maintained the major terms of source text and target text, original meaning and translated meaning, the concepts of literal and dynamic translation ("word for word" and "sense for sense“). Interpreting the original meaning "correctly in order to reproduce it properly" (Gentzler 1993: 95).
马丁· 路德 （1483-1546）
翻译必须采用人民的语言。 翻译必须注重语法和意思的联系。译者不 能与语法背道而驰，但更应该注意意思的 理解和表达。 翻译必须遵循意译七原则。 翻译必须集思广益。
John Dryden
In the Preface to his translation of Ovid"s Epistles (1680): "metaphrase…turning an author word by word, and line by line, from one language into another“. “paraphrase, or translation with latitude…where [the author’s] words are not so strictly followed but his sense”. "imitation, where the translator assumes the liberty, not only to vary from the words and the sense, but to forsake them both as he sees occasion"
西塞罗主要观点
译者应该像演说家一样，使用符合古罗马 语言习惯的语言来表达外来作品的内容。 直译是缺乏技巧的表现。翻译应保留词语 最内层的东西，即意思。 翻译也是文学创作。 各种语言的修辞手段彼此相通，因此翻译 可以做到风格对等。 提出“解释员”式翻译和“演说家”式翻 译，即直译与意译。
St. Jerome
a "traditional" period
Over two millennia, only a few authors have succeeded in introducing "anything fundamental or new". These creators and transformers include " Saint Jerome, Luther, Dryden, Holderlin, Novalis, Schleiermacher, Nietzsche, Ezra Pound, " (1998: 283)
Translation theories in the west
According to Steiner (1998: 248-9), the history of discourse on translation is divided into four periods: (1) a "traditional" period, from the beginning of the Christian era to the end of the eighteenth century, which is a period of "immediate empirical focus“ (2) a period of "theory and hermeneutic inquiry", growing out of German Romanticism around the beginning of the nineteenth century,
Schlegel wrote that, in translating Homer, it was necessary "to get away from the notion of literal precision so commonly associated with fidelity", because "truth must be the translator"s highest, indeed virtually his only, mandate"
哲罗姆（347--420）
翻译不能始终字当句对，而必须采取灵活 的原则。 应当区别对待文学翻译与宗教翻译。前者 意译，后者直译。 正确的翻译必须依靠正确的理解。
Martin Luther
Luther"s aim is to keep communication with readers and listeners, but the audience for his new translation of the scriptures was composed not of scholars but plain speakers of vernacular German, "the mother in her house, the children in the street, and the common man in the market" (Robinson 1997a: 25, modified). "wild, shaggy, "rebellious"
德莱顿（1631--1700）
翻译是艺术 翻译必须掌握原作特征 翻译必须考虑读者 译者必须绝对服从原作的意思，在译文的 措词上可以有自由，意义上却毫无自由。 翻译可以借用外来词 翻译分三类：逐字译、意译、拟作
2. German Romanticism
At the beginning of the nineteenth century, a more philosophical and less empirical, formation began to open within discourses on translation theory. Philology provided a range of new and exotic texts and allowed the experts to produce translations aimed primarily at other experts, not the general public. Romanticism exalted the translator "as a creative genius in his own right, in touch with the genius of his original and enriching the literature and language into which he is translating" (Bassnett-McGuire 1980: 65). The stress on both the original author and the translator as being artists was not part of traditional discourse formations.
(3) a "modern" period, reaching well into the twentieth century, in which the influence of General Linguistics is increasingly dominant (4) the contemporary period, a cultural turn to translation studies.
Cicero (西塞罗公元前 106-前43年, 古罗马政治家、雄辩家)
"I saw that to employ the same expressions profited me nothing, while to employ others was a positive hindrance… Afterwards I resolved to translate freely Greek speeches of the most eminent orators". As a consequence, "I not only found myself using the best words, and yet quite familiar ones, but also coining by analogy certain words such as would be new to our people, provided only they were appropriate" (Robinson 1997a: 7).
Schleiermacher"s preference was for the former. "If the target-language readers are to understand, they must grasp the spirit of the language native to the author, they must be able to gaze upon the author's inimitable patterns of thinking and meaning; but the only tools that the translator can offer them in pursuit of these goals are their own language, which nowhere quite corresponds to the author's, and his own person, his own inconsistently clear understanding of, and vacillating admiration for, the author."
Friedrich Schleiermacher’s "On Different Methods of Translating" ---"the major document of romantic translation theory, and one of the major documents of Western translation theory in general". Schleiermacher distinguished between the "interpreter (Dolmetscher) who works in the world of commerce", and the "translator proper (Ubersetzer) who works in the fields of scholarship and art".
For the true translator, there are only two choices: to "either (1) disturb the writer as little as possible and move the reader in his direction, or (2) disturb the reader as little as possible and move the writer in his direction"
He insisted on “the accurate transmission of the meaning of the text rather than the budding orator's freely ranging imagination“. He introduced "the first major shift in western translation theory“. Jerome maintained the major terms of source text and target text, original meaning and translated meaning, the concepts of literal and dynamic translation ("word for word" and "sense for sense“). Interpreting the original meaning "correctly in order to reproduce it properly" (Gentzler 1993: 95).
马丁· 路德 （1483-1546）
翻译必须采用人民的语言。 翻译必须注重语法和意思的联系。译者不 能与语法背道而驰，但更应该注意意思的 理解和表达。 翻译必须遵循意译七原则。 翻译必须集思广益。
John Dryden
In the Preface to his translation of Ovid"s Epistles (1680): "metaphrase…turning an author word by word, and line by line, from one language into another“. “paraphrase, or translation with latitude…where [the author’s] words are not so strictly followed but his sense”. "imitation, where the translator assumes the liberty, not only to vary from the words and the sense, but to forsake them both as he sees occasion"
西塞罗主要观点
译者应该像演说家一样，使用符合古罗马 语言习惯的语言来表达外来作品的内容。 直译是缺乏技巧的表现。翻译应保留词语 最内层的东西，即意思。 翻译也是文学创作。 各种语言的修辞手段彼此相通，因此翻译 可以做到风格对等。 提出“解释员”式翻译和“演说家”式翻 译，即直译与意译。
St. Jerome
a "traditional" period
Over two millennia, only a few authors have succeeded in introducing "anything fundamental or new". These creators and transformers include " Saint Jerome, Luther, Dryden, Holderlin, Novalis, Schleiermacher, Nietzsche, Ezra Pound, " (1998: 283)
Translation theories in the west
According to Steiner (1998: 248-9), the history of discourse on translation is divided into four periods: (1) a "traditional" period, from the beginning of the Christian era to the end of the eighteenth century, which is a period of "immediate empirical focus“ (2) a period of "theory and hermeneutic inquiry", growing out of German Romanticism around the beginning of the nineteenth century,
Schlegel wrote that, in translating Homer, it was necessary "to get away from the notion of literal precision so commonly associated with fidelity", because "truth must be the translator"s highest, indeed virtually his only, mandate"
哲罗姆（347--420）
翻译不能始终字当句对，而必须采取灵活 的原则。 应当区别对待文学翻译与宗教翻译。前者 意译，后者直译。 正确的翻译必须依靠正确的理解。
Martin Luther
Luther"s aim is to keep communication with readers and listeners, but the audience for his new translation of the scriptures was composed not of scholars but plain speakers of vernacular German, "the mother in her house, the children in the street, and the common man in the market" (Robinson 1997a: 25, modified). "wild, shaggy, "rebellious"
德莱顿（1631--1700）
翻译是艺术 翻译必须掌握原作特征 翻译必须考虑读者 译者必须绝对服从原作的意思，在译文的 措词上可以有自由，意义上却毫无自由。 翻译可以借用外来词 翻译分三类：逐字译、意译、拟作
2. German Romanticism
At the beginning of the nineteenth century, a more philosophical and less empirical, formation began to open within discourses on translation theory. Philology provided a range of new and exotic texts and allowed the experts to produce translations aimed primarily at other experts, not the general public. Romanticism exalted the translator "as a creative genius in his own right, in touch with the genius of his original and enriching the literature and language into which he is translating" (Bassnett-McGuire 1980: 65). The stress on both the original author and the translator as being artists was not part of traditional discourse formations.