商务英语专业毕业论文范文
期末考试成绩分析-苏洵苏轼苏辙
商务英语专业全英文毕业论文范文
The influences
of Cultural factor on film translations
Outline
Thesis Statement:
Difference in eastern western culture causes
a
thing different in value orientation, Translation
of a work of a
movie gets a way of direct
translation, and, it's possible to admit for
an audience. It
’
s need to changed the
Culture in the movie.
Ⅰ
.
Introduction: China's movie translation enterprise
has
passed through more than 50 year
magnificent course, Movie
translator offered
many outstanding translated movies to the mass
audiences. Through these outstanding
translated movies, the
audience while
understood foreign land local conditions and
social
customs also to feel the language
infinite charm, many splendid
dialogues have
become the beautiful line which struggled is on
everybody's lips. If will be bread. All would
have. (the
former Soviet Union film
of
adversity live audience in China . Evidently, the
film as the mass
media, its social effects are
incalculable. However, in academic
fields, Because of the impact of
secular bias, the film is certainly
very cold
: Translation Studies, Translation Studies seem to
completely ignore this area for the. To this
end, China's famous
scholars Television
translation Professor Qian Shao wrote that
Television translation of the translation is
far less atte
nti
on to
literary translation. This translation of the
Television
disproportionate role in the
community. This phenomenon
frequently This
should arouse the attention of the translation
industry.
Ⅱ
. Language and
culture
The language is a country
culture carrier, reflects this country's
the
political economy, the material culture, the
religious belief, the
manners and customs and
so on. The language is different, the
thinking
mode, the behavior way as well as the language
expression way is also different.
This shows that the translation
is not as simple as it is not only
doing
language, in which it stresses culture in the
story.
Ⅲ
.Cultural
reconstruction
The movie translation
namely has the general character with
other
literary work translation also to have its own
particularity.
Same is all is expresses in the
thought with the language art,
different is
the movie translation needs simultaneously to
achieve
manifests in the writing, forms in the
sound, expresses in the
audience.
Ⅳ
. The culture touches up
Strictly speaking, the translation of a film like
filling a word,
thinking the contents can not
be altered. Each expression has the
typeof
the law, regardless of the words said the
mayor short, the right can be,Well, the voice-
over :
guns, then there will be the following
Ⅴ
. Conclusion :
The choice of film translation modes largely
contributes to the reception of a source
language film in a target
culture. The
influences of culture factor are leading.
the influences of objective factors on film
translations
Abstract: Difference in
eastern western culture causes a thing
different in value orientation,Translation of
a work of a movie gets a
way of direct
translation, and, it's possible to admit for an
audience.
It
’
s need to changed the
Culture in the movie.
Key word:
Translation of a movie Culture gap
China's movie translation enterprise has passed
through more
than 50 year magnificent course,
Movie translator offered many
outstanding
translated movies to the mass audiences. Through
these outstanding translated movies, the
audience while
understood foreign land local
conditions and social customs also to
feel the
language infinite charm, many splendid dialogues
have
become the beautiful line which struggled
is on everybody's lips. If
in
China . Evidently, the film as the mass media, its
social effects
are incalculable. However, in
academic fields, Because of the
impact of
secular bias, the film is certainly very cold :
Translation
Studies, Translation Studies seem
to completely ignore this area for
the. To
this end, China's famous scholars Television
translation
Professor Qian Shao wrote that
Television translation of the
translation is
far less attention to literary
tr
anslation. This translation of the
Television disproportionate role
in the
community. This phenomenon frequently This should
arouse
the attention of the translation
industry.
1
、
Language and
culture
The language is a country
culture carrier, reflects this country's
the
political economy, the material culture, the
religious belief, the
manners and customs and
so on. The language is different, the
thinking
mode, the behavior way as well as the language
expression way is also different. The language
in the sound film is
the essential
constituent, in the movie work the splendid
dialogue,
the fragment makes one be worth
hearing a hundred times, cannot
dismiss
from mind for a very long time. The culture in the
society on
like the memory in the individual,
was the people all feasible thing
precipitation gets down in the past life,
turned the language slowly,
turns the writing,
turns music, turns the custom, turns the
construction, turns the clothing, even turned
not the obvious
thinking mode, did not affect
the future thought, the experience and
the
motion.
Language and cultural
interdependent. Language is the
crystallization of culture, culture is
transmitted through language.
Pragmatic
exchanges as a medium for the inevitable
translation
different language deal can not
but be with their respective culture
communication. Translation understanding of
the basic links and
expression is subject to
the original language and translated phrase
structure rules, and their rules for the use
of double requirement.
Understand the results
of the original language is the meaning and
bearing the cultural information, It familiar
with the original
language of the rules and
structure of the use of rules of the
community, which can not be divorced from the
original language of
social and cultural
factors; expression with the purpose of
understanding found in the information with
the target language in
its social and cultural
context for the effective exchange, It
consistent with the structure of
language translation rules and the
rules for
the use of the conditions, So in kee
pin
g with the target language the social
and cultural factors collide,
the integration
phase, therefore, the mission of the translation,
in
the final analysis, is a social and
cultural context to get out and then
enter a
social and cultural context, and its appearance
and the
language is the language of
communication, and the essence of
culture and
cultural exchanges. Therefore, the cultural
translation
by the point of view of language
is the carrier of culture, culture is
the
language of the regulation, translation is culture
and culture of
dialogue, cross-cultural
transmission. As such, the translator must
be
familiar with the two cultures.
Translation cross-cultural communication is the
intermediary
links, culture and communication
with the dual nature. And the
dissemination of
culture and integration, is like a
duality--
its is a cultural, The is spread. (15) In
other words, Culture and Communication each
other for the
survival of that culture is the
spread of content, is culturally. cultural
context of communications. Therefore, we can
say this is the
process of translating
culture and the culture of dialogue, the
dissemination of culture, translation itself
is a culture, is spread
occurs in the language
exchanges in the process of cross-cultural
communication.
This shows that the
translation is not as simple as it is not only
doing language, in which it stresses culture
in the story; We should
not only understand
one language, one culture, but also links the
two languages, two cultures -- This is the
minimum condition For
this one, everyone is
very difficult to do. Cultural Images
symbol,
it has a relatively fixed unique cultural meaning,
and some
are still rich with meaning Lenovo
far-reaching, as long as the
people I
mentioned them, a tacit understanding between each
other
immediately, very easy to communicate
ideas. and
the implication of the two images
is an important component.
Phenomena is the
significance of the information carrier, which was
formed image of the objective facts; implies
is phenomena in a
certain language and the
cultural environment of the extended
meaning.
Imagery that is the function in a variety of
contexts, with
concrete to the abstract
performance, known or easy to know the
unknown
or enlightenment is difficult
to
know. If the Song Dynasty poet
Su Shi, in his famous
Chibi before,using such
Ephemeroptera Chaoshengmusi small
insects to
describe life is short, people are very
insignificant :
sent to earth, there has been
a drop in the
proverbial bucket.
e camel
's back. meaning
crushed. imagery words the
last strawFinally a rice
grass,
to the
pole.
2
、
Cultural
reconstruction
The movie translation
namely has the general character with
other
literary work translation also to have its own
particularity.
Same is all is expresses in the
thought with the language art,
different is
the movie translation needs simultaneously to
achieve
manifests in the writing, forms in the
sound, expresses in the
audience.
But Chinese, English belong the
entirely different two big
language families,
Chinese are the glyph English are the alphabetic
scripts. Movie translator must carry on the
successful cut between
these two kind of
entirely different language families is not an
easy
matter. The cultural reconstruction finds
at everywhere in the movie
translation.
The English movie
《
Red
Shoes
》
, mainly narrated an England
ballerina cannot make the correct choice
facing love and the
enterprise, finally moves
towards the cliff the chilly wan story. At
first when domestic showing, the movie is
translated
“
the red dance
shoes
”
, although the literal
translation is faithful to English original
intention, also threads up the plot, but
appears after all writes in a
straightforward
manner, arouses audience's any association with
difficulty. Later period, the identical movie
film title is translated on a
foreign
outstanding movie exhibition tour
“
the red
water chestnut to
be colorful
”
, thin
savors thin, although the movie flipped the
translator to compare with that double
delicate red dance shoes the
red water
chestnut which the Chinese audience women and
children all knew, the implication red water
chestnut grew in the
muddy water sludge,
actually tender and beautiful enchanting,
curved red water, justed like China ancient
times female's woman's
bound feet, the
woman's bound
fe
et although
exquisite, but condensed how many female's tears
of blood, some has even paid the life price
for it. Therefore passes
“
the red water
chestnut to be colorful
”
this film title
to cause the
audience to associate is putting
on like the red water chestnut
dance shoes
dancing girl gorgeous actually star crossed.
Translator's ingenious borrowing
“
the
red water chestnut
”
a word,
the
Chinese culture will graft the movie in the
implication, the
success has restructured one
the cultural image which for the
Chinese
audience familiar, will comprehend, accepts
The American movie , described First World
《
Waterloo Bridge
》
War period, young
attractive actress Masurium La knew young
military officer Luo on the Waterloo bridge to
depend on, has
combined to make or become the
lover. But after, Masurium La
learned Luo Yi
died in battle the battlefield, is in deep sorrow,
in
order to survive reduces for the
prostitute. When Luo appears
according to the
miracle, she is unable facing the reality, for
love
and the reputation, she arrives once more
with Luo according to the
first love place,
got killed on the wheel billowing Waterloo bridge.
It
is well known, in 1817 England has
made the Waterloo bridge in
the Thames river
bank investment, commemorates the Wellington
duke by this to direct the English army to
defeat the battle of
waterloo victory which
Napoleon obtains. If the literal translation
film title is
“
the Waterloo
bridge
”
, as soon as looked for the first
time, the audience can think this is one goes
to war the related war
piece with Napoleon or
is the introduction
an
d this
building related documentary film. In the Chinese
several
millennium cultural histories, with
the bridge correlation love story,
such as,
the cowherd and the weaving maidens
“
meeting of
lovers
”
, the
Shanxi Province Lantian
“
the blue bridge
meets
”
and
so on.
“
The blue
bridge meets
”
plot has places of the many
equally
good results from different methods
with Waterloo the Bridge.
Therefore the
translator finally translates the film title
“
the soul to
break the blue
bridge
”
, has avoided the audience
ingeniously
because the city cultural
difference, the historical perspective
knowledge lacks losing which causes, as soon
as borrows
“
the
blue bridge
”
to cause the audience to see the film title
instantly
comprehends this is about love
movie.
British film
Peter: Oh, this? Well, I like privacy when I
retire. Yes, I
’
m very
delicate in that
respect. Prying eyeeees annoy me. Behold the
walls of Jerichho! Err, maybe not aaas thick
aas the ones that
Joshua blew down with his
trumpet. I just show you my heart
’
s in
the right place, I
’
ll give you my best
pair of pajamas. Do you mind
joining the
Israelites?
White said this is a very
representative, because in the
meantime, said
there were walls, Joshua. Israelis
three
prevalence of Buddhist East,
particularly in China, Chinese viewers
can get
some idea of Buddhism, and the Western culture,
especially the Western religious history knows
very little about the
culture. Hence the film
switch for a moment the Chinese audience
of
the above three is a link between a difficult
matter. They do not
understand this, walland
between
what is the relationship. Literal
translation for the above not only
Chinese
audiences Lee puzzling. It also lost the film
translation of
real meaning. To enable the
Chinese audience aware of this three
terms of
relations so that the text of those involved in
the special
cultural imagery fullness,
Translator in the film translation of this
text as follows embellishment :
Peter : this? I do not want to break the
interference by others, in
that regard I am
very sensitive, others do not want to be peeped
at.
You see this as the of the Jericho walls,
Although not as
good as the
the thickness,
than it much safer. You see, I did not bugle call,
in
order to express my impartiality, and I put
my pajamas happens to
the best of you right.
You do not want the Israelis? Because of the
added to the story the necessary cultural
meaning Xiurun words,
audiences not only
understand the
the Context also realize a
final word
Xiurun strengthened the language in
the context of transparency;
Enhance the
cultural image in the audience understanding of
the
definition.
The
movie translates the Chinese-adapted
reconstruction the
significance to lie
in it to be able effectively to achieve promptly
the
movie work the concealed implication,
causes the effect which the
audience
understands.
3
、
The culture
touches up
As a result of the East
and West culture difference, movie
translator
should help the audience to understand as far as
possible these with a nationality's history,
the region culture, the
religious custom and
so on have the close correlation language
phenomenon. In if the movie translation does
not do to certain
specific cultural image any
touches up processing, considers the
matter in
and of itself the literal translation, can create
this cultural
image the damage, the cultural
implication is torn to pieces.
American movie Waterloo Bridge, from the very
beginning, has
this kind of section of
offscreen voices:
Announceer
’
s
Voice: At 11:15 this morning, the Prime Ministeer,
speaking to the nation from Numbeer Ten
Downing
Street,announced that Great Britain is
at war with Germany.
Right
“
Numbeer Ten Downing Street
”
this
concealment culture
image geographic name does
not give supplement showing the
speech,
believed the overwhelming majority China ordinary
audience meets the uninformed at sea its
cloud. First the audience
does not know
“
Numbeer Ten Downing Street
”
in
any place. Next,
they did not know the radio
announcer mentions
“
Numbeer Ten
Downing Street
”
in here to have what
special implication especially.
In order to
enable the movie translation to reach it in the
limited
time in the mass audiences. The
translator suitably to above
translates the
document to appropriately supplements touches up,
“
Numbeer Ten Downing Street
”
will
translate English prime minister
the mansion.
Through supplements
“
English prime
minister the
mansion
”
, causes the
audience now at last truly realized
“
Numbeer
Ten Downing Street
”
true meaning. Here,
“
Numbeer Ten Downing
Street
”
conceals the image three-
dimensional unfolds in audience's
front, the
audience understood only then truly has typically
the terr
ito
ry
culture geographic name
“
Numbeer Ten
Downing Street
”
complete
cultural connotation.
西方翻译研究的新发展
[中文摘要] 在西方翻译研究领域，近年来可以说有两大
派别占据了
主导地位：一派以广义上的语言学为基础，致力于建构和发展经验性
质的翻译科学；
另一派则从历史的角度通过描写的方式来研究翻译问
题。两者尽管大相径庭，但有一个突出的共同点，即
具有较强的经验
性，与纯理论研究形成了对照。本文旨在通过对三本代表性著作的考
察，来管中
窥豹，看当今西方两个主要译学研究派别的某些特点，同
时可以对西方的纯理论研究略有了解。
关键词：翻译研究、新发展、代表作
Recent Developments in
Translation Studies as Seen from Three
Representative
Books Published in the
1990’s
Dan SHEN
Abstract: In the field
of translation studies, despite the
existence
of
multiple approaches, two trends of
development seem to have
been dominating
in recent years: one based on
linguistics in the wide sense;
the other
marked by a historical-descriptive
orientation. While the two
trends of
development are contrastive with each other,
they share one
thing in common,
namely,
both being essentially empirical, forming a
contrast
to translation
studies with a
somewhat ‘purely’ theoretical orientation.
The
present paper
offers a discussion of some
recent developments in the field
by way of
reviewing three representative books published
in the 1990’s.
Through the
present review,
we may get a glimpse not only of the
characteristics of
the two major trends of
development, but also of certain
features of
the
theoretical versus the empirical
orientation.
Key words: translation studies,
developments, representative
books
20世纪80
年代初以来，西方翻译研究进展迅速。如果说西方译学研究
在60和70年代的突飞猛进
主要得益于语言学的快速发展的话，在近二
十年里，文化研究、文学研究、人类学、信息科学、认知科学
、心理
学和广义上的语言学等均对翻译学科的发展起了较大的推进作用（参
见Gentzler
1993, Neubert & Shreve 1992）。尽管翻译研究的方法纷呈不一，但近年来可以说有两大派别占据了主导地位：一派以广义上的语言学
（尤其是语篇语言学和话语分析）
为基础，致力于建构和发展经验性
质的翻译科学；另一派则从历史的角度通过描写的方式来研究翻译问<
br>题，意在揭示翻译实践与研究中蕴含的文化与政治因素（参见Venuti,
1997）。
本文旨在通过对20世纪90年代出版的三本西方译学研究代表作的考
察，来看西方翻译研究新
发展的一些特点。这三本著作分别为巴兹
尔·哈廷姆（Basil
Hatim）所著《跨文化
交际：翻译理论与对比语篇语言学》（1997）；
哈罗尔德·基特尔（Harald
Kittel）与阿明·弗兰克（Armin
Frank）主编《跨文化性与文学翻译的历史研究》（
1991）；丁达·戈
尔莱（Dinda Gorlee）所著《符号学与翻译问题》（1994）。就
这三本
书来说，哈廷姆的著作可视为上文提到的第一大研究派别的典型著
作，基特尔与弗兰克的
书则是第二大派别的一部代表作。这两大派别
尽管大相径庭，但有一个突出的共同点，即具有较强的经验
性。与此
相对照，戈尔莱的《符号学与翻译问题》一书则是纯理论研究的代表。
通过对这三本书
的考察，我们不仅可以管中窥豹，看到当今西方两个
主要译学研究派别的某些特点，而且
可以对西方的纯理论研究略有了
解。
一
近二十年来，对比语言学、语
篇语言学和翻译理论均取得了长足的进
展，但将这三者结合起来研究的论著尚不多见。哈廷姆的《跨文化
交
际》一书在这方面作出了可喜的努力(详见Shen
1999)。哈廷姆在书中提出了一个
语篇处理的理论模式。它包含语境、
语篇结构和语篇组织这三大部分。在探讨语境时，哈廷姆主要采用了
语域理论（the
theory of register），但将符号学和语用学（主要用
于意图研究）
也纳入了语域分析，如下图所示（Hatim 1997:22）：
哈廷姆认为“规约性交际”（Institutional Communicative
Transaction）、“语用行为”（Pragmatic
Action）和“符号互动”（Semiotic Interaction）这三种语境成分
对于语篇类型、语篇结构和语篇组织起决定性的作用。他以该模式为
框架，以英语与阿拉伯语之间的翻
译为分析对象，对语篇类型、语篇
结构和语篇组织进行了系统的探讨。就语篇类型来说，哈廷姆区分了<
br>说明文和论证文这两大类。就语篇结构而言，哈廷姆主要对段落划分、
嵌入主文本中的次文本的作
用等展开了讨论。至于语篇组织，哈廷姆
探讨了文本中的主谓递进、句间衔接手段、直接引语与间接引语
等多
种因素。该书在围绕作者提出的语篇处理模式进行了充分讨论之后，
又扩大
范围，针对语篇类型与礼貌策略之间的关系、如何对待来自两
个不同文化的文本以及如何翻译非虚构性文
本中的反讽性成分等问
题展开了讨论。
总的来说，该书有以下几个特点：(1)
与众多以语言学理论为基础的
译学研究论著相类似，该书以一个理论模式为中心，逐层推进地展开
讨论，具有很强的系统性。(2)
与传统的语言学翻译理论形成对照，该书十分强调情景语境的作用
。
譬如第11章在探讨语篇中表达情感的语言手段时，注重对权力关系和
和意识形态之影响的探
讨。(3)
该书探讨的是超过句子这一层次的语篇类型、语篇结构和语篇组织，
并关注这三个
层次之间的交互作用（参见Nord 1991）。(4) 该书还
注重对翻译总体策略的探讨。譬如在
探讨直接间接引语时，哈廷姆
指出阿拉伯人在写新闻报导时，习惯用间接引语。在将英文新闻报导
中的直接引语译入阿语时，译者应采用一种间接的或者“半直接”的
形式，这样方能在修辞功能上达到
对等。由于以上这些特点，该书较
好地揭示了语篇的组合机制和交际过程中的一些重要因素，为译学研<
br>究提供了不少新的洞见。正如诺伊贝特和施莱夫所言，语篇语言学模
式将翻译对等建立在“语篇和
交际的层次上，而不是句子和词汇的层
次上”，因此为译学研究提供了“比句子语言学更为强有力的分析
工
具”(Neubert
& Shreve 1992: 24 ) 。
值得一提的是，该书不仅致力于将对比语言学和语篇语言学运用于翻
译研究，而且注重通过翻译
研究来检验和丰富这两个语言学派。在这
一点上，它有别于仅仅将语言学模式当作工具的译学研究。该书
证明
“在进行对比分析时，若不以话语为基础就无法达到完整。同样，缺
乏对比基础的话语分析
也难以达到完整。翻译则为语言对比提供了最
为适用的研究框架。”(Hatim
1997:
xiii)
二
20世纪80年代以来，受文化研究大潮的影响，翻译的历史文化研究日
益受到重视。值得一提的是，与以语言学模式为基础的译学研究形成
对照，采用历史描写主义方
法的译学研究一般仅关注文学文本。基特
尔与弗兰克主编的《跨文化性与文学翻译的历史研究》是这一新
的译
学研究潮流的代表。这部论文集的作者均为德国戈廷根文学翻译研究
中心的学者。该书主要
由三部分组成。第一部分包含三篇论文，集中
探讨在18世纪的德国，通过法语这一中介将英文作品间接
译入德语的
翻译实践。第一篇论文根据法国语言文化对译文影响之大小和德国译
者对于法国的不
同态度，将间接翻译英国小说的译者分为四类，并对
造成他们之间差异的原因进行了深入探讨，以此揭示
出18世纪德国翻
译文化的复杂性。第二篇论文通过实例论证指出：虽然以法语为中介
的文学翻
译在1770年左右就已销声匿迹，但在非虚构性文本之范畴，
这种间接翻译一直延续至18世纪末。该
文对造成这两者不同步的各种
历史文化原因进行了分析研究。第三篇论文专门探讨了以法
语为中介
的本雅明·福兰克林自传的德译。该文分析了福兰克林自传的不同译
本所具有的不同特
点及其蕴含意义，并挖掘了造成这些不同特点的意
识形态、美学和文化等方面的各种动态因素。
第二部分探讨的是美－德翻译中出现的文化差异和译者的不同译法。
该部分由四篇论
文组成。第一篇集中分析T·S·艾略特的《荒原》
在不同时代的法文和德文译本。该文旨在建构一个由
数种参数组成的
模式，用于描写原文中的文化指涉（cultural
references）和译者在译文中对这些文化因素的处理。主要有以下六
种参数：1.
文化指涉的明晰度（从最为微妙的文化内涵到明确无疑
的文化上的陈词滥调）；2.
范围
(或者特属于某个地区、某个阶级，或者属于某个国家，或者具
有文化普遍性)；3.
性质（宗教、文学、艺术、体育、生活方式等等）；
4.
历史维度（文化指涉所处的特定历史时期）；5.
语篇类型；6. 一体性或者融合性（在何种程度上
文化指涉与作品融
为了一体）。这六种参数为分析不同译者对《荒原》中文化指涉的不
同译法提
供了一个切实可行的框架。但该文指出，对其它作品的译文
或者其它文学语言文化之间的翻译进行研究时
，可能需要根据实际
情况增加新的参数或者删减既定参数。此外，在一个情景语境中显得
十分重
要的参数，在另一个情景语境中可能会变得无足轻重。同样，
由于文化之间的差异，在源文化中最为平淡
无奇的文化指涉有可能会
在译入文化中成为一个突出的问题。该部分第二篇论文集中分析
德国
译者在翻译杰克·伦敦的《荒原的呼唤》时，对于物质文化词语的不
同译法。该文认为，这
种分析可以达到三个“特殊的”（distinctive）
目的。其一，就同一原文而言，可以发现不
同译文之间的相互关系；
其二，可以揭示出译者对于原作品、原作者和翻译艺术的看法。然而，
在笔者看来，这两个目的为文学翻译研究所共有，而不是文化词语译
法研究所特有的。只有第三个目的方
真正具有特殊性，即揭示同一文
本的先后译者对于原文中社会与自然背景的不同熟悉程度。该文十分注重探讨译者由于不熟悉原文中的文化背景而偏离原文的各种现象。
第三篇论文将研究焦点对准政治
文化，探讨了德国译者在政治审查制
度的影响下，对欧文的《瑞普·凡·温克尔》所进行的各种更改。该
文证明在这一方面进行跨文化研究具有较大的优越性，因为“通过译
文与原文的比较，我们可以
比仅仅研究原文更为准确地估量审查制度
所带来的后果”（Hulpke
1991: 74）
。第四篇论文探讨德国译者在翻译马克·吐温的《田纳西
州的新闻业》时，对于美式幽默的处理方式。鉴
于德国和美国在对于
幽默的看法上存在明显的差异，译者有意识地对原文进行了各种改
动，并增
加了一些原文中没有的成分，以求在德国读者中产生类似的
幽默效果。值得一提的是，该部分的论文有一
个共同点，即注重对描
写模式的建构或对普遍规律的挖掘。作者只是将具体文本当成说明描
写模
式或者具有普遍意义之问题的实例。
第三部分由三篇论文组成。第一篇论文
探讨戏剧翻译中，人物名字和
头衔的译法及其社会历史文化含义。该文采用历史描写的方法，对三
个世纪以来法语－波兰语和波兰语－德语英语的戏剧翻译进行了系
统研究。就人物名字而言，主要有以
下五种译法：1.
照搬不译；2. 根据译入文化的拼写和发音规则来同化原名；3.
用译
入语的对应名字来替代原名；4. 仅翻译原名的意思(语义翻译)；5.
仅传递原名所
用的某种艺术手段（以反映出人物某些方面的特征）。
至于人物头衔，则主要有以下几种处理方式：1.
省略；2. 添加；3. 照搬；4. 更改；5. 语义翻译；6. 替代。如该
文所示，人
物名字和头衔是文化身份的重要标示因素，在翻译中常常
会导致两种历史语境、两种社会文化规约之间的
冲突，面临这些冲突
的译者不得不采取各种对策来进行处理。该部分后两篇论文均围绕可
译性这
一理论问题展开讨论。可以说，它们在相当大的程度上偏离了
该书采用的历史描写主义的正轨。（详见S
hen
1995）
总的来说，该书展示了译学研究中历史描写方法的主要特点和作用。<
br>它揭示了译者在特定情景语境下的种种不同译法，挖掘出各种相关的
社会历史文化原因。此外，还
在实际分析的基础上，总结概括出具有
一定普遍性和指导性的翻译程序、翻译方式、翻译原则以及研究参
数。
值得一提的是，该书仅对一些问题作出了揣测性的回答，不少结论也
带有推测性。这反映出
历史描写方法难以克服的一种局限性：今天的
翻译研究者在探讨过去某个历史时期的翻译时，难免会遇上
缺乏确切
“事实”或第一手资料的障碍，故只能根据已知情况作出种种推测性
的
判断，但这些判断往往不乏洞见和启迪意义。
三
上文提到的两本著作均具有
较强的经验性。与此相对照，戈尔莱的《符
号学与翻译问题》是纯理论研究的一部代表作。该书将查尔斯
·S·皮
尔斯的符号哲学应用于翻译理论研究。除了对皮尔斯的理论进行全面
深入的阐述之外，
该书还对一些具有“辅助性”或者互补性的理论进
行了探讨，包括维特根斯坦的语言哲学，沃尔特·本雅
明的语言理论
和罗曼·雅克布森有关三种翻译的理论。这些理论均在符号学和翻译
理论之间起着
某种桥梁的作用。
该书的中心主题可以用简短的一句话来概括：翻译是符号阐释过程
（translation
is semiosis）。符号阐释过程（semiosis）涉及三种
因素：符号、该符号的所指物
、该符号的阐释符号（interpretant）。
“阐释符号”指阐释者在阐释原符号时，自己头脑
中产生的新的符
号。符号阐释过程具有开放性和无限性。第一个阐释者在对一个符号
进行了阐释
之后，就生成了一个新的阐释符号。第二个阐释者又可以
对这个阐释符号进行阐释，从而再生成一个新的
阐释符号。这个过程
可以无穷无尽地延续下去，生成一个连绵不断的阐释符号的链条。也
就是说
，阐释过程构成一个不断生成新的意义的过程。从这个角度来
观察，翻译可视为一个永无止境、不断变化
的进化过程（见下文）。
此外，根据皮尔斯的符号理论，阐释过程对于符号的生命至关重
要。
符号只有通过阐释翻译，才会富有意义。当一个符号再也得不到阐
释翻译时，其生命就会终
止。从这个角度来看，翻译的目的就不是
再现原文的意思，而是体现和调动身为符号的原文的意义潜势，
使其
能够不断获得新的生命。
应当指出，这个“翻译是符号阐释过程”的概念实际
上具有一定的矛
盾性，对译者提出了难以调和的两种不同要求。若追根溯源，则不难
发现，这主
要是因为这一“符号阐释过程”有两个不同的重点：或者
是所指物，或者是阐释符号。当该过程以所指物
为重点时，一系列翻
译行为的目的就是使符号和所指物逐渐达到对等──对等就是阐释
翻译过程
的终点。戈尔莱区分了三种翻译对等：指称对等
（referential
equivalence）、意义对等（significational
equivalence）和质量
对等（qualitative equivalence）。“质量
对等”指译文和原文具有
同样的感官或者物质特性，譬如“同样的长度、段落划分、押韵结构
和
或标点选择”（Gorlee
1994:175；参见申丹1997）。就这样的翻译对等而言，可以
说戈尔莱
的符号学翻译理论与传统翻译理论并无多少本质区别。
与此相对照，当这一过程以
阐释符号为重点时，注意力就从翻译对等
转到了如何帮助符号（原文）发展这一问题上。译文作为阐释符
号，
其主要任务就是帮助原文不断生长。皮尔斯说，“倘若一个符号不能
把自己
变成另一个发展得更为充分的符号的话，那么它就不是符号”
（Gorlee
1994: 1
21）。同样，思想必须不断在“新的更高的翻译中生存和发展，
否则它就不是真实的思想”（同上引）
。根据这一进化性质的理论，
译者“应该能够而且乐意破坏他们的‘传统’职责，偏离常规”，应
该创造性地“通过增加来背叛[原文]”并“通过减少或者歪曲来背
叛[原文]。不然的话，他们所生
产的只会是呆板的直译，没有生命的
复制品。假如翻译仅仅只是制造原文的影像，那么它就只会使符号阐
释过程走向衰竭，因为它编织出来的是千篇一律，缺乏差异，甚至完
全雷同的图案”（Gorl
ee
1994：195）。显而易见的是，这个以发展为宗旨的观点与上文提及的
以对等为宗
旨的观点互为矛盾，难以调和。在书中，这两种观点有时
相互渗透，混淆不清。它们对译者提出了两种完
全不同的要求，译者
很可能会感到无所适从。如果说，以等值为重的观点容易为译者所接
受并身
体力行的话，以发展为重的观点则是相当难以付诸实施的。该
书要求译者破坏他们的‘传统’职责，背叛
原文，但是却没有通过任
何实例来说明怎样才能完成这一任务。
该书在相当大的程
度上与翻译实践相脱节。值得注意的是，皮尔斯将
翻译与同一语言内部的符号阐释等同起来，忽略了翻译
这一跨语言文
化的符号阐释过程的特点。戈尔莱在书中也不时表现出类似的片面
性。如前所述，
皮尔斯的符号阐释过程呈线性递进形态：原符号[通
过阐释者的阐释]导致第一个阐释符
号的诞生，后者又[通过阐释者的
阐释]导致第二个阐释符号的诞生，后者又导致第三个阐释符号的诞<
br>生，如此等等。戈尔莱将这个阐释符号生成阐释符号的模式直接用于
描述翻译：原文[通过译者的
翻译]导致译文甲的诞生，译文甲又[通
过译者的翻译]导致译文乙的诞生，译文乙又导致译文丙的诞生
，如
此等等。但实际上，除了通过一种中介语言的间接翻译，一位译者通
常不会翻译前人的译本
。无论前面已有多少译本，后面的译者还是会
翻译原文。从实际情况出发，我们不妨这么描述翻译中的符
号阐释过
程：原文本符号[原文]导致第一个阐释符号[译文甲]的诞生；然后，
[已经经过一
次翻译的]原文本符号导致第二个阐释符号[译文乙]的
诞生；然后，[已经经过两次翻译的]原文本符
号导致第三个阐释符号
[译文丙]的诞生，如此等等。此外，还应该考虑到前面的译文对后面
的
译文或大或小的影响。也就是说，从第二个符号阐释行为开始，我
们在考虑原文本符号时，不仅要考虑原
文，还需考虑已有的译文在译
者阐释过程中所起的作用。（详见Shen
1996） 总的来说，戈尔莱的《符号学与翻译问题》一书有两大长处。一是综
合了各种与翻译有关的语言符号
理论，将之应用于翻译理论研究，可
以说这是一个可喜的跨学科研究的尝试。二是借助皮尔斯等人的有关
理论，为考察翻译提供了一个新的角度，将翻译视为一个旨在帮助原
文不断获取新的生命力的进
化过程。但令人遗憾的是，由于不注重实
际分析，该书的理论探讨有一些脱离实际之处。这是该书的一大
弱点，
也可谓译学的纯理论研究或大或小的一个通病。
以上探讨的
三本著作各具特色，各有其特定的分析原则、阐释框架和
研究对象。通过对它们的考察，我们管中窥豹，
分别看到了当今几个
较有影响的译学研究派别的一些特点，看到了其不同的长处和局限
性。当然
，西方译学界派别繁多，研究方法纷呈不一，本文主要通过
三本著作所展示的画面难免具有笼统性和片面
性。但希望能够通过这
样的探讨，帮助增进对西方译学研究新发展的了解。