翻译稿

Today we choose rewriting theory of Andre Lefevere, the pioneer of manipulation school as the theme of the mini projet.The development of Andre Lefevere’s theory can be divided into three stages: conventional studying phase (1970s-1980s), turning phase(1980s-1990s) and maturing phase(1990s-).As for the elements of the rewriting story,generally divided into Ideology、Poetics、Patronage,different people have different ways of distinguishing.After a brief introduction to different periods of the development of the theory ,we will introduce and analyze three elements. First of all,let us learn about Andre Lefevere’s lifetime.Andre

Lefevere( 1949-1996) is a renowned Belgium scholar on translation study, especially in the field of literary translation. Drawing upon the notions of poly system theorists like Itamar Even-Zohar, he theorized translation as a form of rewriting produced and read with a set of ideological and political constraints within the target language cultural system. Lefevere developed the idea of translation as a form of rewriting, which means that any text produced on the basis of another has the intention of adapting that other text to a certain ideology or to a certain poetics, and usually to both.

Three stages of translation studies 1.Conventional Studying Phase

In conventional studying phase,AL studied a large number of specific translating strategies,but he also pointed out it’s far away from enough for a translator to

translate the original meaning of language,and that a translator should try his best to convey the communicative meaning of the source text.Meanwhile he mentioned the language problem is just one aspect of translation to face,and that

time,place,tradition and other factors are easy to produce dislocation of the original text’s social and cultural status in the target culture.

2.Turning Phase

At this period,he put forward the concept of reflection,which means that works should be adapted to different readers for wide spread and influence.At the same time,the systematic theories was formally put forward. AL thinks that literature is a system with constraint mechanism.

First, the constraint force of the system mainly comes from sponsor outside the

system(may be a person, a group or organization).And,the constraint force of sponsor system plays it’s role through three elements:ideology, economy,status. Second, the constraint force of the literary system comes from poetic

specifications.The main contents of poetics are inventory component,including style, some symbolism, characters, the prototype scene and so on,and function concept,which means literature has or may have its function in the specific society. The last one restriction factor is natural language of the literary system . Language

not only ensure literary works grammatical in the form, but also ensure works can reflect the culture of the original language from the pragmatic aspect. Because a kind of language always reflects a specific culture, translation always make different culture \3.Maturing Phase

AL published three books on translation theories to summarize his translation

research achievements in 20 years——《Translation, rewriting and manipulation of the literary reputation》《,Translating Literature: Practice and Theory in A Comparative Literature Context》《Translation, History and Culture: A Source Book》.Among them《Translation, rewriting and manipulation of the literary reputation》is most famous.In this book,he makes a comprehensive summary of rewriting theory ,citing many examples such as sponsor system, poetic specifications,ideology, domain and relations between language problems and translation . It’s worth noting that AL clearly put forward for the first time another constraining force within the literary system—— professionals, including critics, reviewers, literature teachers and translators,who are actually rewriters. They are subject to the sponsor system outside the literary system, especially ideology and poetic specifications in the system.

Definition and meanings of three elements

André Lefevere develops his manipulation theory, that is, “Translation is a rewriting of an original text. Rewriting is manipulation.”

Translation is constrained by three factors: ideology, poetics and patronage. In the following the three factors that manipulate translation will be discussed in detail.

Ideological Manipulation in Translation

“Ideology” in manipulation theory includes certain social ideology and personal ideology. Social ideology is the systematic understanding of the world and society of a certain class, party, and career (usually the intellectual). It is a general belief that prevails in a particular country or community and at the same time, hides in the political behavior or idealistic style. Philosophy, politics, art, aesthetic, religion, and ethics are the embodiments of ideology. As for the individual ideology, it refers to the translator’s personal character; educational, working and life experience; and aesthetic taste. The social and translator’s own ideology determine the translator’s choice of the text to be translated and shapes his translation strategies. Sometimes the translator finds himself caught in a dilemma --- between his adherence to an ideology that is not that of the original text and his status as a professional who must be able to convince other professionals that he is worthy of that title, while at the

same time not producing a text that runs counter to his ideology. On that condition, it is impossible for him to remain faithful to the original. He has no other choices but rewrite the original.

Poetical Manipulation in Translation

The initial meaning of “Poetics” is the practice of writing poetry.

The poetics in a certain society can determine what kind of original texts should be translated and what translation strategies should be taken.In the process of translating foreign literature, translators often rewrite the source text with

domestication, so as to conform to styles and themes that currently are in vogue in domestic literature and satisfy the TL readers’ expectation as well. After choosing the eye-catching, norm-conforming originals according to the then dominant poetics, the translator begins to rewrite the original under the constraints of poetics. The

rewritings mainly include the modifications in language, style, grammatical structure, logical format, and so on. It is a clear indication that besides ideology, poetics particularly shape the translator’s strategies in solving problems raised by elements in the Universe of Discourse of the original and the linguistic expression of that original.

Patronage Manipulation in Translation

Ideology and poetics are often enforced by the Patrons, the people or institutions who commission or publish translations. As for patronage, one of the three

constraints in translation, André Lefevere gives the definition as follows: Patronage will be understood to mean something like the powers (persons, institutions) that can further or hinder the reading, writing, and rewriting of literature. Lefevere emphasizes that it is important to understand “power” here, not just, or even

primarily, as a repressive force, but also holds good to the translation. That is to say, patronage not only plays an important role in repressing the production of

translation, which is generally thought to be so, but also traverses and produces things, induces pleasure, form knowledge, produces discourse. Patrons try to

regulate the relationship between the literary system and the other systems, which, together, make up a society, a culture. Patronage basically consists of three

interactive elements that combine variously. They are ideological, economic and

status components. The ideological component acts as a constraint on the choice and development of both form and subject matter. The economic component means that the patron has to insure the writers and rewriters are able to make a living by giving them a pension or appointing them to some office. Finally, the status element sees to the acceptance of patronage, which implies integration into a certain support group and its lifestyle.

第一个例证：麦田里的守望者Ideology The Influences of Ideology on Translation According to Andre Lefevere, the influence of ideology is vital in the process of translation. As he said in the book, “The ideology dictates the basic strategy the

translator is going to use and therefore also dictates solutions to problems concerned with both the 'universe of discourse’ expressed in the original and the language the original itself is expressed in.”

He was always telling us about a lot of creepy guys that go around having affairs with sheep,... He was always saying, “Try this for size,” and then he’d goose the hell out of you while you were going down the corridor. And whenever he went to the can, he always left the goddam door open and talked to you while you were brushing your teeth or something. That stuff’s sort of flitty. It really is.

施咸荣版本：他老讲给我们听有些可怕的家伙怎样胡来，...他老是说，”这件事你可以实地干一下试试。”你走到走廊上的时候，他还会在你后面拼命呵痒。.... 这类玩艺儿就有搞同性爱的迹象。一点不假。

孙仲旭版本：他老是给我讲很多邪门人的事,有人到处找绵羊干，....他经常在你经过走廊时对你说，”试试这个大小如何”，然后猛捣你的敏感部位。他每次上厕所时，老是他妈的不关那格厕所门，在你刷牙或者干别的什么时跟你说话，这种事有点儿同性恋意思，没错。 /

Shi’s edition is more conservative than Sun’s.

In 1942, Chairman Mao pointed out that this kind of art is not existed, which is beyond classes , equivalent to politics, or even independent from politics. The

principle is “art is subordinate to politics”. Under this background, when The catcher

in the Rye first introduced into china in 1963 , it’s an internal circulation yellow book. And in 1983, this book was finally published.

Considering this example, chinese ideology in the 1980s and 21st century does influence the translation work quite significantly.

/

第二个例证：诗经˙国风Ideology\\ Poetical Ideology:

James Legge版本： 帝、上帝→ God 天→ Heaven 窈窕淑女→the modest, retiring virtuous young lady In several poems of Shi Jing he translated the Chinese words “Di” or “Shang Di” to

God. Legge translated those Chinese words to “God” with the first letter capitalized. For instance, he translated the phrase

“有皇上帝,伊谁憎” “There is the great God ,--Does He hate any one ?” “上帝临女” to “ God is with you ” .

Such rendering made the original lines sound like those being selected from Bible. Another example is the word “Tian” ,which is considered as the dominant ruling power over nature and human beings. And as for this word, such as in the line

“天实为之,谓之何哉!”,he translated as “Heaven has done it;What then shall I say?” “母也天只!不谅人只! ” as “0 mother,0 Heaven. Why will you not understand me?” “悠悠苍天,此何人哉! ” as “0 distant and azure Heaven! By what man was this (broughtabout)?”

Besides, he also stressed the virtues that were in accordance with Christian doctrines.

Poetical

Arthur Waley版本：

Waley's rendering of the poems differs from the previous translators. He didn't use rhyme in translating those ancient Chinese verses, because he thought “the

restriction of rhyme necessarily injure either the vigor of one's own language or the literalness of one's version.” \If one uses rhyme, it is impossible not to sacrifice sense to sound.

He adopted various literary devices and techniques in the translation, such as alliterations, puns, metaphors, etc. The first line of the poem “Guan Ju”(关雎)was “关关雎坞,在河之洲。?” he translated it as ‘‘Fair, fair, cry the ospreys /on the island in the river. ” The singing of the bird \is not a resemblance of the original sound, but a pun with the hint of the woman's beauty.

Another case is the poem “Biao You Mei”, a poem to express a girl's anxiety for the lover to propose. The first line “标有梅,其实七兮” was translated as \plums; but there are still seven.” The word “标” is a verb meaning “strike, hit”, yet he chose the word “plop” instead, not only to vividly depict the sound when the fruit fell, but also to form alliteration with the word “plum”. The translator's art fill and artful treatment is clearly reflected.

第三个例子：AL翻译理论分析新闻翻译 Patronage

Translation plays an important role in the mass communication today, and brings great social and cultural influence through all kinds of media, such as newspaper,

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