unit12 Agents of Power in Translation

Venuti(1995)曾用“隐身”(invisibility)一词来描述当代英美文化中译 者的行为方式及由此而造成的社会地位，他认为译者为迎合读者一 味采取归化式的“流畅”(fluency)译法，使译文呈现“透 明”(transparency)状态。 Hermans(1996：27)提出，翻译叙事话语(translated narrative discourse)在文本中表现出的声音不止一种，其话语呈现(discursive presence)方式也不止一种，他将叙事话语中包含的“第二位”声音 称为译者的声音(translator’s voice)，以此作为译者话语呈现的表征。 Hermans(2002：11)指出，译作当中译者异质声音的痕迹随处可循， 译作决非是对原作的透明再现，而是具有多重、分散、混杂和复调 (polyphony)性质的双重文本，旁注、脚注、括号说明以及序言等准 文本形式无不表明两种不协调的声音共存于译作中，因此以“透明” 来评价译作有些过于简单。

The Ethics and Responsibilities of the Translator

Due recognition of the work and status of the translators, but also their responsibilities CEATL(欧洲文学翻译协会联盟):adopt a code of ethics (The vital role played by literary translators in the circulation of ideas and information btn cultures. )
Power structures such as ideology and poetics are consistently invoked to account for this phenomenon which, although condoned （ 宽 恕 ） and even encouraged in certain sectors of Translation Studies， are nonetheless rarely if ever innocent. 重写 ( 翻译 )受到 目标文化的诗学 ( 文学观 念)和意识形态规范的制约 ，译者在此规范内进行 操作 。


Or a self-translation(自译，作者执行自己作品的翻 译任务) which is carried out by the ST author may also be considered to be‘ definitive’: Samuel Beckett （贝克特，精通数国语言，《等待戈多》） , for example, wrote in both his native English and in French and translated each work into the other language.
Unit 12 Agents of Power in Translation

The Translation and 来自百度文库ower

曼塔里Translational action model（翻译行为 模型）： translators---the least powerful members
Eg: translators for the stage 导演和演员经常在排练和演出时修改译本，很 少征得译者的同意。

《妈妈咪呀》

新华网上海12月29日电 中文版《妈妈咪呀》在半年不到的 时间里已完成上海、北京、广州等地的近160场演出，原本以 蓝色爱琴海为舞台主色调的《妈妈咪呀》，在开场环节特地 披上了富有节庆特色的“中国红”，向观众恭贺新年。

中央戏剧学院名誉院长徐晓钟曾分析说，中文版《妈妈咪 呀》很好地体现了音乐剧本身的质感，“歌词翻译得非常好， 激情的音乐、美妙的舞蹈、戏剧性的故事情节，带动观众进 入了激情澎湃的气氛中。音乐剧的本土化一直以来广受关注， 中文版《妈妈咪呀》带来了很好的启示，虽然故事发生在希 腊，却能引起观众共鸣，这是我们文艺工作者的追 求。”。


第二个译本，徐和瑾先生的译本。目前已经出前三卷，第四卷即将交稿。他的风 格明晰优美。每卷有插图、内容提要、人名、地名和文艺作品名三个索引和译后 记，考证最为详尽。

第三个译本，周克希先生的译本，名为《追寻逝去的时光》。他的译笔明丽流畅。 已出第一卷和第二卷，即将推出第五卷。

对于这样的三个译本同时推出，读者也往往喜爱争论高下。但是译本之间即使是 有竞争，也是极高水平的，译者倾尽心力，更甚寻常。若待之以“你好，他不好” 这种简单粗暴方式，不免有失公允。公平地说，它们之间，不是一时瑜亮之争， 在这个普鲁斯特的浩瀚苍穹，都必将闪闪发光。直到人类不再需要书籍的那一 天。




3. The translator shall refrain from introducing any tendentious modifications to the thoughts or words of the author, and from cutting or adding to the text without the express permission of the author or rights holder. 4. When it is not possible to translate from the original language and the translator is obliged to translate from a translation, the translator must obtain the permission of the author and cite the name of the translator whose work is being used . . .[. . .] 7. The translator undertakes not to do anything that may be damaging to the profession by agreeing to conditions that jeopardise the quality of the work or deliberately harm a colleague.

In Section A of this unit we looked at the notion of voice and the translator’s discursive presence(话语 呈现) which insinuates itself into the TT even if the aim of the translator has been to produce a ‘transparent’ translation译文呈现“透明”状态.

Excluded Reader, Author or Translator

Pym:在报纸、杂志等出版物上，广告、通知、邀请信 等常以其他语言而非本国的官方语言出现。 Eg: announcement placed in a French newspaper, but translated from Arabic into English and not French. The choice of what to translate and how to translate are all decisions taken strategically and carry serious pragmatic implications-essentially to be inclusive or exclusive of a certain kind of reader, etc.



European Code of Ethics for Literary Translators from CEATL
1. Anyone practising the profession of Translator confirms that they have a very sound knowledge of the language from which s/he translates (the SL), and of the language into which s/he is working (the TL). The TL should be their mother tongue, or a language in which they have mother-tongue competence, as any writer must master the language in which s/he writes. 2. The translator must be aware of his/her limitations and refrain from translating material which is outside his/her scope or the sphere of knowledge required.


The Translator’s Voice Gains Strength An indication of the relative strength of the translator’s voice and that of the original author is the retranslation of canonical authors after a period of time
A translation is so widely accepted in achieves the status of an original, such as the King James Version of the Bible in English. 文艺复兴时期英国《钦定圣经译本》的出版以 其英语风格的地道、通俗和优美对现代英语的 发展产生了深远的影响。

《追忆似水年华》目前有三个中译本。

第一个译本，是译林出版社1990年推出的全译本。十五位译者，可以说是集一时 之盛。虽不断再版，但却从未做过完整修订，因此近两年，译林出版社花了大力 气修订。此次推出的绛红色封面精装，就是修订本。 在这个全译本所奠定的基础之上，当年十五位译者中的两位，徐和瑾先生和周克 希先生，都决定以一己之力重译。



Allergy tested. 100% Fragrance Free. 敏感的鉴赏，100%的慷慨芳香。

敏锐鉴赏，百分百芳香。（理解对吗？）

“经过敏测试，100％不含芳香剂” 很多品牌化妆品都有类似的话写在产品包装外 面。

THE TRANSLATOR’S VOICE REMODELLED


TRANSLATED OR MANIPULATED?
One way of seeing this whole exercise of power in context is to see translation as a form of ‘re-writing’, even manipulation. 翻译是一种 “ 重写” ， 重写即 操纵 ，是为权力服务的手段 。

Most frequently new translations of classic works are commissioned as the tastes or norms of the target culture change and when the author goes out of copyright.