Hist Trans Theo EN 3 - Revision history

Zhang Yang at 12:37, 14 December 2021

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Zhang Yang: /* Abstract */

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摘要

Zhang Yang at 14:26, 13 December 2021

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Zhang Yang at 14:24, 13 December 2021

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 In the early 1960s, there was no translation workshop in American universities. In the American university system, translation is not listed as a subject. The United States also has no Literary Translators Association and no special translation publications. In 1964, the director of the Writing Workshop from the University of Iowa Paul Engle initiated the translation workshop. He expanded his writing workshop and invited writers from other countries to participate. He also believes that creative activities have no national boundaries. This year, Engle hired a full-time director for the translation workshop and awarded credits for literary translation. The following year, the Ford Foundation funded the University of Texas at Austin to establish the American Translation Research Center. In the same year, the publication of poetry translation ''Modern Poetry in Translation'' was published around the United States. In 1968, the American Center for Translation Studies published the first issue of its official journal ''Delos'', which aims to study the history of translation and translation aesthetics. From then on, literary translation began to occupy a small place in American culture.
-In the 1970s, literary translation continued to be developed and recognized. Soon, famous institutions of higher education such as Yale, Princeton, Columbia, Texas and the State University of New York set up translation workshops and courses at various levels, and awarded high-level degrees to students engaged in literary translation, translation history and translation theory. The development of literary translation and research has promoted the establishment of professional organizations for translators. In the late 1970s, the American Literary Translators Association was established and published the academic magazine ''Translation''. A school of thought surrounding the translation workshop came into being. In practice, the school does not talk about theory, but in fact, it consciously or unconsciously used Ivor Armstrong Richards'(1893-1979) reading workshop methods. In order to understand the theoretical guiding ideology followed by the American Translation Workshop, we have to talk about the new criticism, especially the literary theory of I.A. Richards, who is one of its representatives.
+In the 1970s, literary translation continued to be developed and recognized. Soon, famous institutions of higher education such as Yale, Princeton, Columbia, Texas and the State University of New York set up translation workshops and courses at various levels, and awarded high-level degrees to students engaged in literary translation, translation history and translation theory. The development of literary translation and research has promoted the establishment of professional organizations for translators. In the late 1970s, the American Literary Translators Association was established and published the academic magazine ''Translation''. A school of thought surrounding the translation workshop came into being. In practice, the school does not talk about theory, but in fact, it consciously or unconsciously used Ivor Armstrong Richards'(1893-1979) reading workshop methods. In order to understand the theoretical guiding ideology followed by the American Translation Workshop, we have to talk about the new criticism, especially the literary theory of I.A. Richards, who is one of its representatives.(Gentzler,1993:136)
 The term "New Criticism" usually refers to a literary theory and critical trend of thought, or a method of understanding and interpreting literature. Marked by the works of I.A. Richards and Thomas Stearns Eliot(1888-1965), it began in Britain before the Second World War and later developed in the United States from the 1940s to the 1960s. In 1941, John Crowe Ransom(1888-1974) published the book ''New Criticism''. This monograph summarizes the "new" literary theory and critical thought since the 1920s, from which the term "New Criticism" was established and became popular. The new criticism school is not strictly a school. The writers and theorists known as the new criticism school have many differences in theory, but their common feature is that they oppose the traditional positivist historical and biographical criticism methods and "transfer their interest from poets to poetry". In other words, the new critics advocate paying attention to the text and texture of the works, that is, the words and various rhetorical devices, and making detailed analysis and annotation of literary works through close reading. New criticism has had a great impact on British and American literary criticism. Some people believe that the important contribution of the English world to literary theory almost depends on the new critical theory. Until recently, the new critical theory was still in the field of university teaching in the United States. It also has a great impact on the field of British literature teaching.
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 Pound has a very clear idea of translatable and untranslatable factors in poetry. He believes that the musical sense of poetry is difficult to translate, but the visual sense can be translated completely. However, the original meaning of words and the contextual meaning of word games cannot be translated. The translator must understand the constraints of time, place and ideology of the text, and then integrate it into the time, emotion, atmosphere and the author's thinking process. Maybe he can, but maybe he can't find an equivalent way of expression. Here, the only translatable is "visual sense", which is what Pound calls "image". He said:"The part of the poem that can touch the reader's eyes and arouse imagination will not be lost in translating into a foreign language; while the part that appeals to the reader's ears can only be felt by those who read the original work."
-Therefore, Pound is not interested in abstract concepts in translation. He pays attention to form, sporadic images and individual details. He believes that only in an instant can we "grasp the truth". In this way, Pound grasped sporadic images and individual details in translation and wrote a new poem in English. Because of this, these poems are loved by English readers. They go beyond the scope of translation works and become independent English literary works. In fact, Pound wrote a half-translated and half-created poem based on ancient Chinese poetry. Pound did so with a purpose. When he published ''Cathay'' in 1915, he was a complacent young poet who had long been tired of the sad poetic style of Victoria in the 19th century and was quite disgusted with the abstract sermons and old themes and poetic methods of his predecessors. He needs to reform and make poetry a new life. He wants to add new color to the new era and replace the lyric with solid and vivid images. He explored this. In the process of his exploration, he came into contact with Chinese classical poetry, and was very interested in it, and got a lot of inspiration from it. Pound regarded translation as a tool of cultural struggle, just like the translation in the United States in the 1960s and 1970s, it was also used to challenge the popular aesthetic and cultural concepts in the United States and even the whole western society, and brought impetus to the whole anticultural movement.
+Therefore, Pound is not interested in abstract concepts in translation. He pays attention to form, sporadic images and individual details. He believes that only in an instant can we "grasp the truth". In this way, Pound grasped sporadic images and individual details in translation and wrote a new poem in English. Because of this, these poems are loved by English readers. They go beyond the scope of translation works and become independent English literary works. In fact, Pound wrote a half-translated and half-created poem based on ancient Chinese poetry. Pound did so with a purpose. When he published ''Cathay'' in 1915, he was a complacent young poet who had long been tired of the sad poetic style of Victoria in the 19th century and was quite disgusted with the abstract sermons and old themes and poetic methods of his predecessors. He needs to reform and make poetry a new life. He wants to add new color to the new era and replace the lyric with solid and vivid images. He explored this. In the process of his exploration, he came into contact with Chinese classical poetry, and was very interested in it, and got a lot of inspiration from it. Pound regarded translation as a tool of cultural struggle, just like the translation in the United States in the 1960s and 1970s, it was also used to challenge the popular aesthetic and cultural concepts in the United States and even the whole western society, and brought impetus to the whole anticultural movement.(Zhou,1994:2)
 In addition, it should be mentioned that Pound did not understand Chinese when translating ''Cathay''. In 1913, he got a batch of Chinese literature materials left over from the death of Ernest Fenollosa, an American Orientalist. With the help of two Japanese scholars, Fenollosa made detailed English annotations to some ancient Chinese poems. Pound looked at Fenollosa's notes and treated them like treasure. At that time, Pound was exploring to write poetry with "image", and the writing method of Chinese classical poetry was in line with his ideas in many aspects. These Chinese poems gave him great enlightenment. He began to translate some ancient Chinese poems according to Fenollosa's notes. Therefore, some of his "mistranslations" come from his practice of his own poetics and translation theory. On the other hand, they may come from Fenollosa's misunderstanding. Of course, this is also the regrettable side of Pound's translation. However, his translation of Chinese classical poetry played a role in spreading Chinese culture in the West and made an important contribution to the communication between eastern and western cultures.
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 First, in poetry translation, he gave up the original and antique language of the Victorian era. That kind of archaic English is not the English of a specific era in ancient England, but a hodgepodge of ancient or medieval English in many times in the past. The purpose is to give readers an impression of "ancient" and "past". Pound advocated looking at the past from a modern point of view and seeing the past as vivid and complex as modern. Therefore, Pound advocated translating classical poetry in contemporary language. His views and translation practice have had a great impact on the translation of contemporary poetry.
-Second, to him, translation is regarded as a form of literary criticism. Pound's thought of creative translation and various strategies applied in translation have had a great impact on modern translation thought. Victorian translators emphasized their loyalty to the original works and their accurate understanding of the original works; contemporary poets and translators highlight inspiration. They believe that from Fenollosa's notes, the poet can get inspiration and translate good poetry. This thought has something to do with Pound's method of translating ancient poems in ''Cathay''. Therefore, "only poets can translate poetry" has become an accepted view. Taking Pound as an example, translation is no longer the equivalence of calculating syllables and looking for meaning, but the expression of the poets and translators' insight into the original poem in many aspects - the meaning, tone and style of the original poem, and then make a choice to express some characteristics of the original poem in the translation and reflect their own criticism of the original poem.
+Second, to him, translation is regarded as a form of literary criticism. Pound's thought of creative translation and various strategies applied in translation have had a great impact on modern translation thought. Victorian translators emphasized their loyalty to the original works and their accurate understanding of the original works; contemporary poets and translators highlight inspiration. They believe that from Fenollosa's notes, the poet can get inspiration and translate good poetry. This thought has something to do with Pound's method of translating ancient poems in ''Cathay''. Therefore, "only poets can translate poetry" has become an accepted view. Taking Pound as an example, translation is no longer the equivalence of calculating syllables and looking for meaning, but the expression of the poets and translators' insight into the original poem in many aspects - the meaning, tone and style of the original poem, and then make a choice to express some characteristics of the original poem in the translation and reflect their own criticism of the original poem.(Apter,1984:68)
 Third, he regards translation as creation. For Pound, translating a poem is to create a new poem. This view can be seen from two aspects. Firstly, as mentioned above, Pound sees the past as a living factor in changing the present. The poetry he chose to translate is the classical poetry that he believes is lacking and needed in contemporary poetry. This is especially reflected in the Chinese classical poetry in his poetry collection of ''Cathay''. Secondly, Pound believes that translation can not only be an ancient poem, but an ancient poem from a modern point of view. Therefore, it is also a new poem. Dryden divides translation into word by word translation, imitation and free translation, while Pound advocates "creative translation". This creative translation can be said to be between fiction and free translation. Pound believes that translating a poem actually changes the original poem and the past. The translator looks at the past from the perspective of the 20th century and reproduces the poetry of the past with the experience and ideas of the 20th century. Pound opened up a new way for poetry translation - besides literal translation and free translation, creative translation can also be carried out. This is pound's greatest contribution to literary translation.

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 Tan Zaixi 谭载喜(1991). 西方翻译简史 ''A Brief History of Translation in the West''. The Commercial Press.
-Zhao Jiajin 赵家进(1996). 当代翻译学派简介
+Zhao Jiajin 赵家进(1996). 当代翻译学派简介 ''Introduction to Contemporary Translation School''. Chinese Translators Journal, No.5, 1996.
-Zhou Yan
+Zhou Yan 周彦(1994), 庞德误译浅析 ''Brief Analysis on Pound's Mistranslation''. Chinese Translation Journal, No.4, 1994.
 Written by--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 12:19, 13 December 2021 (UTC)
 Corrected by--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 11:36, 13 December 2021 (UTC)

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 Ronnie Apter.(1984) ''Digging For Treasure: Translation After Pound'', Peter Lang Publishing Inc. New York.
-Feng Huazhan 丰华瞻(1983). Pound and Chinese Classic Poems
+Feng Huazhan 丰华瞻(1983). 庞德与中国诗 ''Pound and Chinese Classic Poems''. Journal of Foreign Languages, No.3, 1983.
-Guo Jianzhong
+Guo Jianzhong 郭建中(2002). 当代美国翻译理论 ''Contemporary Translation Studies in USA''. Hubei Education Press.
-Tan Zaixi
+Tan Zaixi 谭载喜(1991). 西方翻译简史 ''A Brief History of Translation in the West''. The Commercial Press.
-Zhao Jiajin
+Zhao Jiajin 赵家进(1996). 当代翻译学派简介
 Zhou Yan

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 ===References===
-Edwin Gentzler.(1993).Contemporary Translation Theories
+Edwin Gentzler.(1993) ''Contemporary Translation Theories'', Routledge: London and New York.
 Ezra Pound
-L.S.Dembo
+Ezra Pound.(1969) ''Cathay'', Prinston Univ. Press, Prinston, New Jersey.
 Ronnie Apter
-Feng Huazhan
+L.S.Dembo.(1963) ''The Confucian Odes of Ezra Pound: A Critical Appraisal'', University of California Press, Berkeley and Los Angeles.
 Guo Jianzhong
 Tan Zaixi
 Zhao Jiajin
 Zhou Yan
---[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 12:19, 13 December 2021 (UTC)
+Written by--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 12:19, 13 December 2021 (UTC)
-corrected by--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 11:36, 13 December 2021 (UTC)
+Corrected by--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 11:36, 13 December 2021 (UTC)

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 ===References===
-Edwin Gentzler
+Edwin Gentzler.(1993).Contemporary Translation Theories
 Ezra Pound
 L.S.Dembo

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 ===Abstract===
-This paper discusses the relationship between translation workshops run in American Universities beginning in 1960s and Pound's practice and theory of translation, and their influences on and contributions to the development of literary translation in America. From the discussion of the emergence of the American translation workshop and the comparison with the thought of the writing workshop in the first part, the analysis of Pound--the representative of the translation workshop, his translation thought in the second part, and the analysis of the impact of the workshop on the translation academic community in the third part, we can get the enlightenment to future generations and what China can learn from.
+This paper discusses the relationship between translation workshops run in American Universities beginning in 1960s and Pound's practice and theory of translation, and their influences on and contributions to the development of literary translation in America. From the discussion of the emergence of the American translation workshop and the comparison with the thought of the writing workshop in the first part, the analysis of Pound--the representative of the translation workshop, his translation thought in the second part, and the analysis of the impact of the workshop on the translation academic community in the third part, we can get the enlightenment to future generations and what Chinese translators can learn from.
 ===Key words===

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 ===摘要===
-本文主要论述美国60年代在大学里开办的翻译研讨班与庞德翻译实践和翻译思想的翻译所产生的影响和贡献。通过第一部分对美国翻译研讨班的出现的论述以及与写作研讨班的思想比较、第二部分对翻译研讨班的代表埃兹拉·庞德的翻译思想的分析和第三部分对研讨班对翻译学界的影响分析，得出对后世的启示以及中国可以借鉴的地方。
+本文主要论述美国60年代在大学里开办的翻译研讨班与庞德翻译实践和翻译思想的翻译所产生的影响和贡献。通过第一部分对美国翻译研讨班的出现的论述以及与写作研讨班的思想比较、第二部分对翻译研讨班的代表埃兹拉·庞德的翻译思想的分析和第三部分对研讨班对翻译学界的影响分析，得出对后世的启示以及中国译者可以借鉴的地方。
 ===关键词===

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 ===Conclusion===
 From the essay, we can conclude that the translation workshop has not made much contribution to literary translation theory. Their contribution is not in the concept of translation equivalence, but in semantic association, cognition and music, and in revealing the "black box" in the mind in the process of translation. On the latter hand, the American Translation Workshop opened a precedent, because before that, American translation research focused on translation, not on the process of translation. As for Ezra Pound, one of the greatest representatives of the workshop, from the great success of ''Cathay'' in the west, Chinese translators can get a lot of enlightenment: First, translate poetry with poetry. Second, find the spiritual fit between the translator and the original poet (such as Shelley's works translated by Guo Moruo). Third, Integrate translator's own feelings into the translated poetry, or when selecting the original works for translation, choose those works that are connected with the translator's own emotions. Fourth, attach importance to the similarity of spirit and light the similarity of form. Finally, fully consider whether the translation is suitable for the recipient's psychology and habits to the greatest extent.
 --[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 12:19, 13 December 2021 (UTC)
 corrected by--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 11:36, 13 December 2021 (UTC)

← Older revision		Revision as of 14:24, 13 December 2021
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	--[[User:Zhang Yang\|Zhang Yang]] ([[User talk:Zhang Yang\|talk]]) 12:19, 13 December 2021 (UTC)		--[[User:Zhang Yang\|Zhang Yang]] ([[User talk:Zhang Yang\|talk]]) 12:19, 13 December 2021 (UTC)

−	--[[User:Zeng Junlin\|Zeng Junlin]] ([[User talk:Zeng Junlin\|talk]]) 11:36, 13 December 2021 (UTC)	+	corrected by--[[User:Zeng Junlin\|Zeng Junlin]] ([[User talk:Zeng Junlin\|talk]]) 11:36, 13 December 2021 (UTC)