梁实秋与同朱生豪译本比较：以《李尔王》为例-亮版.pptxVIP

朱生豪，梁实秋，孙大雨，方平，卞之琳，曹未风……A CONTRASTIVE STUDY ON ZHU’S AND LIANG’S TRANSLATION OF2: Domestication and Foreignization3: The Difference in Diction Features4: The Difference in Language Styles1: A Brief Introductionto the Two TranslatorsContents朱生豪梁实秋《威尼斯商人》《哈姆雷特》《奥赛罗》出版 1936梁实秋朱生豪先后在美国科罗拉多学院、哈佛大学就读英美文入清华留美预备学校1929被校长举荐到之江大学1935开始准备翻译莎剧1912出生1903出生太平洋战争爆发，日军占领上海全部资料与译稿丢失1941带病译出《查理二世》《查理四世》《约翰王》1944《暴风雨》出门不出译出莎剧全部悲剧、4部历史剧1936《暴风雨》第一稿完成1942补译丢失的9部喜剧1937日军进攻上海9部喜剧部分译稿被焚《莎士比亚戏剧全集》出成《莎士比亚全集》，其中戏剧37册1944《亨利五世》尚未完成，抱憾离世1987离世Contents2: Domestication and Foreignization3: The Difference in Diction Features4: The Difference in Language Forms1: A Brief Introductionto the Two TranslatorsDomestication (归化)Foreignization (异化)They are strategies in translation, regarding the degree to which translators make a text conform to the target culture.Domestication is the strategy of making text closely conform to the culture of the language being translated to, which may involve the loss of information from the source text. Domestication (归化)Foreignization (异化)“余译此书之宗旨, 第一在求于最大可能之范围内, 保持原作之神韵必不得己而求其次, 亦必以明白晓畅之字句, 忠实传达原文之意趣而于逐字逐句封照式之硬译, 则未敢赞同。凡遇原文中与中国语法不合之处, 往往再三咀嚼, 不惜全部更易原文之结构, 务使作者之命意豁然呈露, 不为晦涩之字句所掩蔽。每译一段竟, 必先自拟为读者, 察阅译文中有无暖昧不明之处。又必自拟为舞台上之演员, 审辨语调之是否顺口, 音节之是否调和。一字一句之未惬, 往往苦思累日。”朱生豪《译者序》Domestication (归化)Foreignization (异化)Foreignization is the strategy of retaining information from the source text, and involves deliberately breaking the conventions of the target language to preserve its meaning. Foreignization (异化)茅盾：“为了使文学翻译达到艺术创造的水平, 从而忠实地传达原作的内容与形式, 翻译家在具体的翻译实践过程当中应该主要采用直译的方法。”Foreignization (异化)To keep as much as possible the language features of Shakespeare and introduce the purest western culture to Chinese readers, Liang mostly employed literal translation.Foreignization (异化)一、译本根据的是牛津本……（原文出版信息，此处省略）。二、原文大部分是“无韵诗”，小部分是散文，更小部分是“押韵的排偶体”。译文一以白话散文为主，但原文中之押韵处以及插曲等则悉译为韵语，以示区别。三、原文常有版本困难之处，晦涩难解之处亦所在多有，译者酌采一家之说，必要时加以注释。四、原文多“双关语”，以及各种典故，无法迻译时则加注说明。五、原文多猥亵语，悉照译，