2016年1月29日 星期五

The History of England. Wikipedia的次文化翻譯;專有名詞人名等不譯



錦坤兄送"奇文共欣賞"一篇:
奇葩譯者多,你們弄啥咧| 從把lesbian譯成“黎巴嫩”說起
新京報書評周刊 2016-01-24 09:43

我關心Hume的名著案:The History of England, 6 vols. - Online Library of Liberty
劉仲敬的《英國史》
書評君曾讀到一篇題叫《羞煞嚴復,氣煞休謨——評劉仲敬譯<英國史>》的文章,豆友David用洋洋近2萬字之言控訴了譯者劉仲敬的“英文水準之低下,歷史素養之粗劣,翻譯態度之輕佻,錯誤名目之繁多”。這部讓晚年休謨一直念茲在茲、與吉本《羅馬帝國興衰史》和羅伯遜《蘇格蘭史》並稱於世,堪稱18世紀“哲學歷史學”之鴻篇巨著的《英國史》,被漢譯活生生地糟蹋了!
奇葩譯者多,你們弄啥咧| 從把lesbian譯成“黎巴嫩”說起
因為這位喜愛以嚴復自況的劉老師翻譯錯誤太多,書評君擔心就是今天三條推送文章全都說這本書也說不完呀,姑且從David的文章中撿了兩個高中生亦能看出的錯誤放在此處。
(譯者劉仲敬)也不知道“economy”除了“經濟”還有“儉約”之意,將“want of economy and an ill-judged liberality were Henry's great defects ”(不知儉約和不得其所的慷慨是亨利最大的缺點)譯為“亨利最大的弱點就是財政困難和欠考慮的慷慨賞賜”。(第2卷:中文18頁,英文13頁)

(譯者劉仲敬)不知道“raise”除了有“供養”之外還有“提高”之意,把“The committee of danger in April 1648 voted to raise the army to 40,000 men”(1648年4月,危機委員會投票決定將軍隊增至4萬人)譯為“1648年4月,危機委員會投票通過決議:供給四萬大軍”。(第6卷:中文108,英文94)

詢問閱讀建議嗎?英文好的同學請直接閱讀原版,英文不好的同學就換一本英國史方面的書來讀罷。

*****
Wikipedia的次文化subculture翻譯,很可參考。我的英文人行到上碰到兩字,我都參考它們:

furries/furry fandom
獸迷英文Furry fandom)是指受到歐美國家的卡通文化之影響,喜好具有人格或其他人類特質的擬人化動物之虛構角色的一群人。擬人化的特質包括表現出人類智能、臉部表情語言能力、雙足步行、穿著服裝等行為。獸迷一詞也可用於指稱在網際網路聚會活動上集結的此類興趣團體,時至今日已經成為一種迷文化的表現。

rave (from the verbto rave) is a large dance party featuring performances by DJs and occasionally liveperformers playing electronic music, particularly electronic dance music (EDM). The music is amplified with a large, powerful sound reinforcement system, typically with largesubwoofers to produce a deep bass sound. The music is accompanied by laser light showsprojected imagesvisual effects and smoke machines. The word "rave" was first used in the late 1980s to describe the subculture that grew out of the acid house movement.[1]

銳舞,又稱銳舞派對狂野派對,是一場通宵達旦的舞會,在那裡DJ或其他表演者會播放電子音樂銳舞音樂。銳舞是從英文rave音譯而來,當初這個字是1960年代倫敦加勒比海裔居民用來稱呼派對的俚語。1980年代末期,新聞記者將這個字轉變成稱呼那些從迷幻浩室(acid house)運動中,發展出來的一種派對現象及次文化




----
昔日劉振老師等人主張:人名不譯。
這有很多優點,當然有些缺點。


在日本,W. Edwards Deming  (中文:戴明)最早譯為"德明",後來當然採用譯音:不過我們不採納梁容若先生提議的,用注音符號來翻譯專有名詞,參考他1959年的論文: 梁容若 【如何改善中文裡外來語的翻譯】,《東海學報》第一卷第一期,1959 。
William McNeill《追求真理:威廉‧麥克尼爾回憶錄》(杭州:浙江大學,2015)可知,傳主是世界史的名家,不過他只懂三國語言,當人無法應付世界多國的不同於英語表達的專名,為同事笑。
人名不譯的情形似乎還可以,譬如說:MOT TIMES 明日誌


從來沒有一位建築師敢把房子只「蓋一半」的,但「冷血」的 Alejandro Aravena 就是有這個本事,而且還樂此不疲!
成為 2016 年普立茲克新科得主的 Alejandro Aravena,不僅翻轉人道建築的趨勢、打破了全球社會住宅的遊戲規則,從他的「行動庫」──ELEMENTAL 工作室開始致力與當地居民協力共造的「參與式設計」建築,便不難看出在這些實踐過程中,Aravena 不斷追求的公共利益與社會責任之價值。不過,別看 Alejandro Aravena 一張帥氣瀟灑的臉龐,其實他在智利、墨西哥等地的「蓋一半」社會住宅創新概念與人道重視上,還曾被一些建築師及媒體評論為過於「冷血」呢!
當然,「冷血說」小編也覺得有些誇大了,且 Alejandro Aravena 近年還有非常多知名的建築作品,如 2010 年智利大地震海嘯重建計畫、剛榮獲英國年度設計獎的「UC 創新中心」...都在等著建築迷們一探究竟呢!現在就跟著小編一起參與 Aravena 的偉大建築吧:http://goo.gl/LD6N96更多
一起動手吧!我的建築就是你的參與──2016 年普立茲克獎得主 Alejandro Aravena 

某些專業名詞的暫譯,無法全面說出原文的全譯,所以採用原文當外來語也可行。例子後補。

譯人朱光潛(1897-1986)

朱光潛(1897-1986)

朱光潛(1897-1986, 安徽桐城人 , 著名美學家、文藝理論家、翻譯家 , 我國現代美學的開拓者和奠基者之一。 )

朱光潜- 维基百科,自由的百科全书

https://zh.wikipedia.org/zh-tw/朱光潜
   
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胡適、楊振聲等人想重振京派,便組織朱光潛、沈從文、周作人、林徽因等人組成編委會,籌辦《文學雜誌》。朱光潛時任主編,朱自清、聞一多、馮志、李廣田、何其芳、 ...

我記得朱光潛在英國時有寫信給胡適之先生。

1925年,考取公費留英,到愛丁堡大學選修英國文學、哲學、心理學、歐洲古代史和藝術史等,畢業後至倫敦大學學院聽莎士比亞課程,同時又在巴黎大學註冊,對研究西方哲學藝術美學、心理學產生濃厚興趣。期間受巴黎大學文學院長德拉庫瓦教授所講授的藝術心理學啓發,起念寫下了《文藝心理學》。後又就讀於法國斯特拉斯堡大學,幷於1933年獲得斯特拉斯堡大學博士學位,同時完成了其著作《悲劇心理學》。

朱光潛1933年在法國取得博士學位,同年應北大文學院院長胡適之聘,返國任教。

翻譯作品都是經典:


中國發行朱光潛全集。

2016.1.29 賴慈芸專欄:小畢偷看的《查泰萊夫人的情人》,原來是朱光潛譯的?
http://www.storm.mg/lifestyle/80453員

小說一開頭是這樣的:如果它果真是朱光潛先生翻譯的,tragically是他的本行,
◆tragic より陰気な感じが強い.Causing or characterized by extreme distress or sorrow:tragically.《副詞》悲劇的に;悲惨に. "驚惶自擾"是不錯的翻譯?
我們根本就生活在一個悲劇的時代,因此我們不願驚惶自擾。大災難已經來臨,我們處於廢墟之中,我們開始樹立一些新的小建築,懷抱一些新的微小的希望。這是一種艱難的工作。現在沒有一條康莊的到未來的路了,但是我們卻迂迴地前進,或攀援障礙而過。不管天翻地覆,我們卻不得不生活。這大概就是康士丹斯·查泰萊夫人的處境了。
Ours is essentially a tragic age, so we refuse to take it tragically. The cataclysm has happened, we are among the ruins, we start to build up new little habitats, to have newlittle hopes. It is rather hard work: there is now no smooth road into the future: but we go round, or scramble over the obstacles. We've got to live, no matter how many skies have fallen.  This was more or less Constance Chatterley's position.

2016年1月27日 星期三

a bunch of pussy willows, a shine; road rage, formal attack

"And Every Lad May Be Aladdin (Crackers in Bed)" by Norman Rockwell from an Edison Mazda Lamp advertisement (1920) in theSaturday Evening Post.


查Wikipedia 馬茲達Mazda (燈泡)

貓柳即銀柳,英文版竟然介紹
謝道韞留下來的事蹟不多,其中最著名的故事,記載在《世說新語》中:謝安在一個雪天和子姪們討論可用何物比喻飛雪。謝安的姪子謝朗說道「撒鹽空中差可擬」,謝道韞則說:「未若柳絮因風起」,因其比喻精妙而受到眾人的稱許。
* a shine 應指鞋油:A shortened term for shoeshine

******

房龍(Hendrik Van Loon)這句話說得很妙啊。
「任何對無知所展開的攻擊註定會失敗,因為大眾總是做了準備,不讓他們最寶貴的財產--他們的無知--受到攻擊。」(Any formal attack on ignorance is bound to fail because the masses are always ready to defend their most precious possession – their ignorance.)

Search Results

    上述譯文沒把formal attack的 formal (正式的v 突擊等)翻譯出來;又,將defend 也弄成"不受到攻擊",不好。
*****

Watch this road-rage incident escalate to a ‪#‎StarWars‬-style fighthttp://cnn.it/1Sbdw0X

Audio Slide Show: The Whole Hog
Scott’s Variety Store and Bar-B-Q in Hemingway, S.C., offers all the rural tropes of a signal American barbecue joint.


road rage:片語,指開車時態度囂張,罔顧交通規定,或對其他駕駛人和行人造成威脅的行為。
http://word-watcher.blogspot.tw/2011/04/hog-whole-hog-hog-road.html

hc:上述新聞片語的解釋可能過廣,此公路暴怒多由他人駕駛之威脅所引起。
sudden violent anger provoked in a motorist by the actions of another driver.

2016年1月26日 星期二

Dear prudence. Where Pablo Neruda Lived and Loved

【吞下妳的自豪吧!蔡英文】
《經濟學人》觀點:中國遲早會要求蔡英文肯定兩岸關係的公式:只有「一個中國」,即使雙方不同意其中意義。這對蔡英文來說很難,因為這樣的夢囈,並無法反映國人越來越認為自己是台灣人,而非中國人的想法。但她也必須持續自馬英九開始的對中和解。即使在五月上任前,蔡英文也應該提出與習近平不設前提見面。自始至終,耐心應該是她的座右銘。台灣要獲得實際、法理上的主權,也許只能等待現今迫害人權運動者的兇殘中國,蛻變成一個更自由的國家那天。不可能?台灣已經做到了。(雖然我不同意這句「台灣要獲得實際、法理上的主權,也許只能等待現今迫害人權運動者的兇殘中國,蛻變成一個更自由的國家那天。」)

Economist Jan 23rd…
MLKJ24.PIXNET.NET|由 MLKJ24 (MLKJ24) 上傳




楊索 《經濟學人》這篇評論標題是:〈Dear prudence〉(親愛的謹慎),是借用披頭四的作品Dear Prudence,是寫給Mia Farrow妹妹Prudence Farrow的。當時Prudence在印度靈修,把自己關在房間裡,披頭四希望用這首歌,讓她能看看外面的世界。這邊的標題用小寫的prudence;而prudence也有謹慎、小心的意思, 是一個經濟學人很愛用的雙關語。(引自譯者加註)

hc評:譯注寫得不錯。我還沒進去讀。不過此處  Dear prudence 的Dear ,不是"親愛的"(用在信中可不譯)。Dear還可能是"昂貴的"雙關字。



*****
紐約時報這一標題的翻譯,你認為怎樣?




我的看法是原文的where 消失,用邂逅取代,不太好。lived 用流年取代,更不清楚。


換句話說,譯者要用模糊似詩意的字來取悅讀者?
In Chile, Where Pablo Neruda Lived and Loved

By JOYCE MAYNARDJanuary 24, 2016
在智利,邂逅聶魯達的流年與愛情






*****


中文標題沒將"博物館官員將因損害文物受審"翻譯出來。

埃及圖坦卡蒙黃金面具修復中受損
DECLAN WALSH 2016年1月25日

Egyptian Museum Officials Face Tribunal for Damaging King Tutankhamen’s Mask

2016年1月24日 星期日

Ann Goldstein: A Star Italian Translator


轉載

http://www.wsj.com/articles/ann-goldstein-a-star-italian-translator-1453310727?

Ann Goldstein: A Star Italian Translator

A New Yorker editor, who translated works by Elena Ferrante, Jhumpa Lahiri and Primo Levi, has become a rare celebrity among translators

Ann Goldstein, translator and editorENLARGE
Ann Goldstein, translator and editor PHOTO: PETER ROSS FOR THE WALL STREET JOURNAL
One evening this past September, more than 300 people squeezed into a narrow room at BookCourt bookstore in Brooklyn for the launch of “The Story of the Lost Child,” by Italian author Elena Ferrante. The author, whose true identity is a closely held secret, was absent. Instead, the crowd whooped and cheered for the headliner of the evening: the book’s translator, Ann Goldstein.
Translators rarely achieve celebrity status. But as Ms. Ferrante’s star has risen, so too has Ms. Goldstein’s. Her English translations of the four books in Ms. Ferrante’s Neapolitan series have sold more than a million copies in North America, the U.K., Australia and New Zealand. Ms. Goldstein, 66 years old, is now one of the most sought-after translators of Italian literature. Last fall, she celebrated the completion of a gargantuan project: “The Complete Works of Primo Levi,” a 3,000-page collection for which she oversaw nine translators and translated three out of 14 books herself. This year, she expects to see the release of five of her translations, including “In Other Words,” a memoir by the American Pulitzer Prize-winner Jhumpa Lahiri, which Ms. Lahiri wrote in Italian. “Frantumaglia,” a collection of interviews and writings by Ms. Ferrante, will also be released this year.
All of this comes on top of Ms. Goldstein’s day job, as head of the copy department at the New Yorker magazine.
She became a translator by accident, though it was clear from childhood that she had a deep affinity for languages.
She grew up in Maplewood, N.J., and began studying French and Latin in grade school. At Bennington College in Vermont, she took up ancient Greek, wanting to read Homer and Aeschylus. In 1973, she took her first job as a proofreader for Esquire. She moved to the New Yorker the following year, and worked her way up through the copy department, becoming its chief in the late 1980s. She has edited writers including John Updike, Ian Frazier and Adam Gopnik.
At the magazine, she earned a reputation as a master of English grammar who helped writers polish their sentences until they shined.

She didn’t begin studying Italian—or even visit Italy—until her late 30s. In 1986, she and some of her New Yorker colleagues invited an Italian instructor to teach a class once a week at their office. Ms. Goldstein had always wanted to read Dante in the original language. Together, over the next couple of years, she and her colleagues read the entire “Divina Commedia.”“She’s like a diamond cutter,” said New Yorker editor David Remnick. “It’s just an accumulation of refinement after refinement… that makes you a better you.”
She visited Italy for the first time in 1987. Smitten with the language and the country, she began reading in Italian as much as she could.
In 1992, New Yorker cartoonist Saul Steinberg asked editor Robert Gottlieb to consider a short book by his friend, Italian author Aldo Buzzi. Mr. Gottlieb couldn’t read Italian, so he asked Ms. Goldstein to have a look at it. She read it, liked it, and decided to try her hand at translating it.
“I liked it as a way of reading,” Ms. Goldstein recalled in an interview at a cafe near her office at One World Trade Center. “If you have to copy down every word of something, you become very close to it.”
Mr. Gottlieb liked the translation, and published it in the magazine.
Ms. Goldstein continued to translate both magazine pieces and books. And in 2004, she got a big break. A new publishing company called Europa Editions invited her to submit a sample translation for its first book: Ms. Ferrante’s “The Days of Abandonment.” Ms. Goldstein submitted a sample of the book’s searing opening. So did Michael Reynolds, then a freelance copy editor for Europa, living in Rome.
Among the applicants, Ms. Goldstein wasn’t the best-known translator, but the editors decided her sample was the best. She beat out Mr. Reynolds, who later became editor in chief of the company, and now serves as her editor.
There is a spectrum, among translators, ranging from those who hew very closely to the original to those who take more liberties with the text. Ms. Goldstein leans toward fidelity. Editors who have worked with her say her strength comes not just from her mastery of Italian, but from her profound love of English.
“Sometimes, I think, it’s puzzle-solving,” Ms. Goldstein said. “I want to make good English sentences but without losing the particular voice of the Italian writer. I can’t explain how that happens. I think it has to do with staying pretty close to the original.”
Italian sentences tend to be more complex than English sentences, often running on with clauses and sub-clauses. Because English grammar doesn’t have gendered nouns, these clauses have to be rearranged to make sense in English. Ms. Ferrante’s sentences tumble forward, comma after comma, with emotional intensity. Ms. Goldstein’s translation replicates that rhythm, and that emotion.
In a December interview via email with FT Magazine, Ms. Ferrante said of Ms. Goldstein: “I trust her completely.”
Ms. Goldstein says she doesn’t know Ms. Ferrante’s real identity. She has exchanged emails with her a couple of times, but usually sends questions or clarifications through the author’s Italian editors. Ms. Ferrante reads English and signs off on the final versions but generally doesn’t suggest revisions, Mr. Reynolds said.
Ms. Goldstein said she was floored—and intimidated—when she was invited to translate Ms. Lahiri’s memoir. In a preface to the book, to be released Feb. 9 from Alfred A. Knopf, the author explains that she decided not to translate her own work because she wanted to immerse herself fully in Italian, and would have felt the urge to smooth out the “rough edges” of her adopted language.
Ms. Goldstein was immediately drawn to the book, in which the author recounts how she learned Italian as an adult, moved with her family to Rome and decided to write only in Italian. (One of Ms. Goldstein’s greatest regrets is never having lived in Italy—at least not yet.)
“Of course, it was also incredibly stressful,” Ms. Goldstein said of translating Ms. Lahiri’s book. “She’s a writer in English. I felt very anxious about it.”
Ms. Lahiri’s Italian is fairly simple in the book’s early chapters. The translation reflects how her syntax and vocabulary become more complex as the author becomes more confident in Italian. In contrast to Ms. Ferrante, Ms. Lahiri was closely involved in the translation. Ms. Goldstein said the author submitted at least three rounds of revisions to the translation, one of them after Ms. Lahiri recorded the audiobook in both English and Italian. Ms. Goldstein said she deferred to the author: “She had some stuff she wanted to change, which was fine.”
The intensity of their collaboration was unusual for Ms. Goldstein, who usually works with authors who are dead or, in Ms. Ferrante’s case, not present. Ms. Lahiri declined to comment for this article. The two women seem to have emerged from the project with their relationship intact: They appeared together in November at the Center for Fiction in New York, where they discussed the Ferrante novels.
In addition to the Ferrante interview collection coming in November, Europa Editions this year will publish Ms. Goldstein’s translations of “The Young Bride” by Alessandro Baricco and “The Street Kids” by Pier Paolo Pasolini. World Editions is slated to publish her translation of Emanuele Trevi’s “Something Written.”
Ferrante Fever began in earnest in the U.S. with the 2014 release of the third novel in the Neapolitan series. Ms. Goldstein was suddenly in demand as a stand-in for the enigmatic author at live events. Shy by nature, she has warmed to her role as an ambassador not just for the mysterious Ms. Ferrante but for translation in general. Translators are rarely named in book reviews. Their names often are left off book jackets. Ms. Goldstein’s name, however, has become a valuable commodity. On its website, Europa Editions touts “The Street Kids” as “a new translation by Ann Goldstein, translator of Elena Ferrante’s Neapolitan Novels.”
“Her name on a book now is gold,” said Robert Weil, editor in chief of Liveright, who hired her for the Primo Levi project. Colleagues said Ms. Goldstein now stands among the ranks of great translators such as the late William Weaver, a doyen of Italian translation.
This spring, she has been invited to speak on a panel at the PEN World Voices Festival in New York and at writers’ festivals in Sydney and Auckland.
At the end of the night at BookCourt last September, the booksellers asked Ms. Goldstein to autograph their stock.
“I thought, ‘Who wants the translator’s signature?’” she said.
Write to Jennifer Maloney at jennifer.maloney@wsj.com

2016年1月23日 星期六

"譯場(su)報告"No. 17 :pollution


莊因1977 "說聲"一文:

pollution 一詞,國人譯為"污染",似乎太輕描淡寫了些,日語譯成"公害",較之中文有懲戒性和準確性。.....應該譯為"褻瀆"或"玷污",更能切合題意,達到對人類文明的反諷;。


HC按:pollution 可指的傷害範圍很廣,所以有的還不致於達"公害"。現在的日語辭典:


"譯場(su)報告" * On Translating *

No. 17, 2008年 2月14日; 2008/1/28 創刊
《西遊記》第二回:“我是個老實人,不曉得打市語。”


蝴蝶效應??
WSJ 的漢文標題經常”弄巧成拙、自曝其短”: 下標題者根本是道聽途說所謂「蝴蝶效應」。
”中國煤炭需求在全球產生蝴蝶效應” China's Coal Demand Reverberates reverberate
China is doing for coal what it once did for oil: helping push prices to new highs, adding more pressure to the creaking global economy.
國正在煤炭上重蹈石油的覆轍﹕為價格不斷創出新高推波助瀾﹐對岌岌可危的全球經濟產生更大壓力。

這CREAKING 翻譯成"岌岌可危"有意思......
量詞。英語dozen音譯的省略。十二個為一打。如:一打鉛筆;一打毛巾。
談兩段狄更斯Bleak House的翻譯
「來自比「古古」更任勞任怨的搜索引擎「小古古」:
PR:下回應該試用手機照下那幾頁即可, 像電影裡的間諜)
Twice lately there has been a crash and a cloud of dust, like the springing of a mine, in Tom-all-Alone's; and each time a house has fallen. These accidents have made a paragraph in the newspapers and have filled a bed or two in the nearest hospital. The gaps remain, and there are not unpopular lodgings among the rubbish. As several more houses are nearly ready to go, the next crash in Tom-all-Alone's may be expected to be a good one.
最近在Tom-all-Alone's這地方已經發生過兩次猶如地震爆炸的事故,先是一陣轟隆隆的巨響,接著是塵土飛揚。這些事故一發生,報紙上總是能找到一小則新聞,而附近的醫院也總要收容一兩傷亡的人。儘管那裡的牆壁有裂口,那些破房子在窮人的心目中也還是了不起的住處。因為還有幾間房子就快要倒塌,下一次Tom-all-Alone's那個轟隆巨響可能非常驚人了。
Tom-all-Alone's(這也是第16章的章名) 的一種解釋:獨行俠湯姆的地盤
地震爆炸」可能是「地雷爆炸」之筆誤。and each time a house has fallen.”漏譯。末句或可翻譯為「可能非常轟烈了」。
Ch.46
There is not a drop of Tom's corrupted blood but propagates infection and contagion somewhere. It shall pollute, this very night, the choice stream (in which chemists on analysis would find the genuine nobility) of a Norman house, and his Grace shall not be able to say Nay to the infamous alliance. There is not an atom of Tom's slime, not a cubic inch of any pestilential gas in which he lives, not one obscenity or degradation about him, not an ignorance, not a wickedness, not a brutality of his committing, but shall work its retribution
Tom身上每滴毒血的細菌都會傳染到別的地方。今天晚上,它就要沾污一個貴族公館裡的人的高貴血液(化驗師如果進行化驗的話,就會發現這血液含有真正的貴族成分),而這所公館裡的公爵閣下,也沒法否認這分不體面的關係。Tom身上的每滴粘液,身邊的每平方英寸臭氣,周圍的每種下流墮落的現象以及他所作的每個愚昧的邪惡的和殘暴的行為,都能夠從社會的最下一層一直懲罰到社會上最高級、最顯赫的人士。真的,Tom用玷污、霸占和腐蝕的手段達到了報復的目的。
原文無細菌字眼。
slime 似乎為「令人嫌棄東西」(Vile or disgusting matter).
Norman 沒指出
“not one obscenity or degradation about him, not an ignorance, not a wickedness, not a brutality of his committing, but shall work its retribution”的翻譯解釋過份。