翻译教程Chapter 6
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The Unit of Translation and Discourse Analysis
Chapter 6
• • • • • • • • • •
The general properties of a text
the tone the intention of the text your own intention as a translator the type of the text the quality of the writing the permanent features of the writer (dialect, sociolect, period, sex, age, etc) the situation linked to the readership the degree of formality generality or technicality emotional tone - say the register and the pragmatic features.
•
•
• In considering the functiwk.baidu.comnal, semantic and
•
syntactic aspects of a sentence, the translator may have to weigh the writer's functional purposes against the particular language's wordorder tendencies (not rules) Further aspects of FSP which are of interest to a translator are the various devices for heightening or frustrating expectation, which may differ in two languages.
THE LOWER UNITS OF TRANSLATION
• Within the sentence, there are five
possible sub-units of translation : • the morpheme, the smallest unit of meaning, need not be taken seriously, except in the cases of prefixes • the clause and the group are grammatical • the collocation and the word are lexical.
OTHER CONNECTIVES
• Linguistic synonyms are also used as a
cohesive device to avoid repetition, particularly in a reinforcing sentence.
FUNCTIONAL SENTENCE PERSPECTIVE
COHESION
• Next we consider the relations between
sentences. The most common forms these take are connectives denoting addition, contradiction, contrast, result, etc. • German notably uses modal connectives. • English tend to turn SL complex into coordinate sentences on the lines.
CONTRASTS
• Climax or focus can also be marked by a
negative-positive sequence, where the
negative is likely to introduce an opposite or a heightened meaning. Contrasts or oppositions are one of the most powerful cohesive factors in discourse. Other types of contrast are normally signalled by comparatives and superlatives.
Coherence
• Consider first its genre • Next, consider the structure of the text
• the structure of the text :a thesis, an
antithesis and a synthesis; an introduction, an entry into the subject, aspects and examples, a conclusion; a setting, a complication, a resolution, an evaluation; a definition of the argument of the title, the pros and cons, and the conclusion; a build-up, a climax, and a denouement; a retrospect, an exposition, a prospect.
Punctuation
• Punctuation can be potent, but is so easily
overlooked. We should make a separate comparative punctuation check on their version and the original. • Punctuation is an essential aspect of discourse analysis, since it gives a semantic indication of the relationship between sentences and clauses.
• Functional sentence perspective (FSP) examines the
arrangement of the elements of a sentence in the light of its linguistic, situational and cultural context, determining its function within the paragraph and the text. Elements that belong neither to theme nor rheme are transitional. The thematic elements are communicatively less dynamic, therefore carry a smaller amount of CD than the rhematic elements. Normally one proceeds from the known to the unknown: one begins with the theme, and therefore the new elements with the highest degree of CD come last in a sentence
Chapter 6
• • • • • • • • • •
The general properties of a text
the tone the intention of the text your own intention as a translator the type of the text the quality of the writing the permanent features of the writer (dialect, sociolect, period, sex, age, etc) the situation linked to the readership the degree of formality generality or technicality emotional tone - say the register and the pragmatic features.
•
•
• In considering the functiwk.baidu.comnal, semantic and
•
syntactic aspects of a sentence, the translator may have to weigh the writer's functional purposes against the particular language's wordorder tendencies (not rules) Further aspects of FSP which are of interest to a translator are the various devices for heightening or frustrating expectation, which may differ in two languages.
THE LOWER UNITS OF TRANSLATION
• Within the sentence, there are five
possible sub-units of translation : • the morpheme, the smallest unit of meaning, need not be taken seriously, except in the cases of prefixes • the clause and the group are grammatical • the collocation and the word are lexical.
OTHER CONNECTIVES
• Linguistic synonyms are also used as a
cohesive device to avoid repetition, particularly in a reinforcing sentence.
FUNCTIONAL SENTENCE PERSPECTIVE
COHESION
• Next we consider the relations between
sentences. The most common forms these take are connectives denoting addition, contradiction, contrast, result, etc. • German notably uses modal connectives. • English tend to turn SL complex into coordinate sentences on the lines.
CONTRASTS
• Climax or focus can also be marked by a
negative-positive sequence, where the
negative is likely to introduce an opposite or a heightened meaning. Contrasts or oppositions are one of the most powerful cohesive factors in discourse. Other types of contrast are normally signalled by comparatives and superlatives.
Coherence
• Consider first its genre • Next, consider the structure of the text
• the structure of the text :a thesis, an
antithesis and a synthesis; an introduction, an entry into the subject, aspects and examples, a conclusion; a setting, a complication, a resolution, an evaluation; a definition of the argument of the title, the pros and cons, and the conclusion; a build-up, a climax, and a denouement; a retrospect, an exposition, a prospect.
Punctuation
• Punctuation can be potent, but is so easily
overlooked. We should make a separate comparative punctuation check on their version and the original. • Punctuation is an essential aspect of discourse analysis, since it gives a semantic indication of the relationship between sentences and clauses.
• Functional sentence perspective (FSP) examines the
arrangement of the elements of a sentence in the light of its linguistic, situational and cultural context, determining its function within the paragraph and the text. Elements that belong neither to theme nor rheme are transitional. The thematic elements are communicatively less dynamic, therefore carry a smaller amount of CD than the rhematic elements. Normally one proceeds from the known to the unknown: one begins with the theme, and therefore the new elements with the highest degree of CD come last in a sentence