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1、,e Contents,彎第一节篇章分析篇章分析是指对篇章的结构规律、风格特点、涉及的人、事、境、情的认识和分析。令。应首先对篇章的文体,运用文体分析方法弄清该篇的文体特点,以便再现原作的精神实质和文体风格。其次,要把握局部与整体的辫证关系,或弄清论点与论据之间的相互依存性,事件发生和发展的事理逻辑。再次借助篇章所提供的语境充分理解原文,准确掌握原文传达的信息、感情和审美价值。篇章分析中的语境问题o语境包括语言语境(1 inguistic context)、文化语境cultural context)和情景语境( situational context)个方面,因此,在研究篇章分析和篇章翻译过程
2、中应尽量考虑这三个方面的影响和作用。,彎第一节篇章分析o例如o眼看快轮到一位老人,他灵机一动步流星地奔向窗口,嚷道:“售票员,钱算错了。”仿佛一切都看在眼里,嗔道:“同志,买票你看看身后那位老人ao Noticing it would soon be an old mans turn, the queuejumper dashed over to the window of the ticket office in a fewbig steps. and bellowed at the top of his voice, Heyclerk, the change is wrong,. The
3、clerk was in nohurry. She seemed to have seen through his trick.andadmonished, Comrade, please queue up for your ticketlike the elderly gentleman behind youo原文中两次出现的“老人”一词,虽指同一人,即所指意义相同,但其语用意义不回。这种不同是整个语境关系决定的。因此前者译为中性词,启者译为义词,因为 he elderly gentleman可以反映言者和读者对老人的敬佩之情,以及对“加塞”青年的批评。,o三、篇章翻译o篇章翻译通常采用三种
4、手段:全译、编译和摘译。o下面是日出(曹禺著)原文节选及其译文,(潘经理进。大丰银行的经理潘月亭。他穿一身古铜色的僚绒皮袍。上面套着李紊壹臨排着貪李%叉未柽獒:口还未系好,一边的领潘月亭(低声)我知道你想我,(自作多情)是不是?你想我。你说,模拟像我,是不?(呵呵大笑)陈白露嗯!想你o潘月亭是的,我知道,(指点着)你良心好。o陈白露嗯,我想你给我办一件事o潘月亭(故意皱起眉头)又是办事,又是办事。一你见着我,没有别的,你专门好管o陈白露你怎么知道的?o潘月亭福升全告诉我了o陈白露你管不管?潘月亭(走近小东西)原来是这么个小东西o小东西是,老爷。o陈白露你看她多么可怜o潘月亭得了,我知道,反正总
5、是那么一套。o陈白露(要挟地)月亭,你管不管?o潘月亭我管!我管!陈白露小东西,你还不谢谢潘经理。,(o(Mr. Pan, the bank manager, comes in. He isearingsleeveless satin jacket over it, hung with a goldwatch-chain and an emerald pendant. He seems tohave just dressed, for his collar-button has not yetbeen done up. He has a cigar in one hand andalthoug
6、h his brows are creased into a frown hecannot keep a smile from his lips.o Pan(self-confidently):(in a low voice)I knew youere thinking of me(trying to sound sentimentallywerent you?o Pai-lu: Yes, I was thinking of youo Pan: There you are, I knew it.(Gesturing towardshero Your hearts in the right pl
7、aceo Pai-lu: Yes, I was thinking of you and me tacklinga job together.,o Pan:(putting on a frown): Tackling a job againIs that all you can think of when you see me? No timefor anything but getting mixed up in things that dontconcern youo Pai-lu: How do you know?o Pan: Fu-sheng told me all about ito
8、Pai-lu: Are you on?o Pan:(going across to the Shrimp): Wen, so this isthe little shrimp.o Pai-lu: Look at the poor little thing, sheo Pan: All right, all right, I know all about it. Thatshat always happens, anywayo Pai-lu:(menacingly): Well, Yueh-ting, are you on?o Pan: Yes, Im ono Pai-lu: Well, Shr
9、imp, arent you going to thankMr. Pan?o(Tr. A. C. Barnes,上述文字有以下特点:o1.属戏剧文学,属较正式书面体。译文中使用的非限定形式、带逻辑主语的复合结构或独立结构都是书面语体的特点。舞台解说词的英译通常采用历史现在时原文台词属口语体,简洁清新,富有感染力。译文使用了助动词或情态动词的缩略形式、简单句、并列复合句或简单的主从复合句,很少用形容词短语或分词短语,从而再现了原文的口语体特点o2.译文与原文在表层结构上有些不同,这主要是出自译文在语气,语势及表述习惯等方面的需要。3.在小说和戏剧中,人物身份有别,年龄不同,性别有异,语言风格也不
10、同,译文既不能千面一腔,也不能千腔一面。,第二节遣词、造句、谋篇o谋篇与遣词造句之间是一种整体与局部的关系,篇要靠遣词造句来实现,遣词造句要考虑谋篇的要求粘连性( Cohesion)文字的粘连性主要通过语法手段和词汇手段来实现。前者指照应( reference)、替代( substitution)、省略( ellipsis)和关联( conjunction),后者指复现( reiteration)和同现( collocation)。这些语言手段形成一个有形的完整网络,使篇章的各组成部分有机地衔接起来,从而增强整个篇章的内聚力。,包孔乙已是站着喝酒而穿长衫的唯的人。他身部乱蓬蓬的花百的胡子。穿的
11、虽然是长衫,可是又脏又破,似乎十多年没有补,也没有洗孔乙己o Kong was the only long-gowned customerto drink his wine standing. He was a biggman, strangely pallid, with scars thatoften showed among the wrinkles of hisface. He had a large unwept beardstreaked with white. Although he wore along gown. it was dirty and tattered andlooked as if it had not been washed ormended for over ten years.(Tr. YangXianyi& Gladys Yang),
