2013年9月19日 星期四

(瑞士)馮鐵《在拿波里的胡同裡》2011

作為世界文學的誕生歷程:魯迅傳記散論 (瑞士)馮鐵《在拿波里的胡同裡》2011
這篇有些翻譯的問題
第3頁對Grossschriftsteller的譯註"諷刺地表示有影響有社會地位的而不一定美學水準很高的作家" 來形容魯迅恰當嗎? 
第18頁"Chine profonde" 是"小而全極具有中國特色的城鎮"嗎?
 
 第31頁的"1917年.....臨時院所的監視會成員"---待確認:
因此直到清帝遜位之日,京師圖書館始終沒有正式接待過讀者。辛亥革命後,北洋政府的教育部接管了京師圖書館,並將其改名為國立京師圖書館1912年(民國元年)8月27日正式開館接待讀者;....

2013年9月18日 星期三

No Freedom of Silence「沒有不說話的自由」


王鼎鈞先生的回憶錄《文學江湖》(臺北:爾雃 2009 )有2章與胡適相關


「胡適從我心頭走過」,頁103-112,「我從胡適面前走過」,頁205-213。

 下面這篇No Freedom of Silence,外國通訊社發出的電報說胡思潮杜「沒有緘默的自由」。胡適之先生在那種鬥爭的氣氛下,還告訴國內記者它應該翻譯成「沒有不說話的自由」。頁212  胡適: No Freedom of Silence「沒有不說話的自由」,王鼎鈞,胡佳

2013年9月9日 星期一

WSJ: How Many Times Can a Tale Be Told? 名著的翻譯版本多多益善假如各版都有特色的話. 而不是抄的

 

How Many Times Can a Tale Be Told?

Each Translation of a Classic Has New Way With Words

    By 
  • JEFFREY A. TRACHTENBERG
Leo Tolstoy's novel "Anna Karenina" famously starts "All happy families are alike." But what readers may want to know is how alike are different translations of such foreign classics?
There are half-a-dozen English-language translations of the 1878 Russian novel available for sale online, including the 2001 version produced by celebrated translators Richard Pevear and Larissa Volokhonsky. An endorsement by Oprah Winfrey turned that edition into a best-seller, with more than 1.3 million copies in print to date.
Yet next year, two new translations of the massive novel will hit the shelves. "Why two more now, and in the same year? I have no idea," says Mr. Pevear in an email.
It isn't only Tolstoy's works that get such treatment. For example, shoppers can choose from half-a-dozen versions of "The Decameron," Giovanni Boccaccio's sometimes bawdy 14th-century tale. This month, however, W.W. Norton & Co. will publish a new translation by Wayne A. Rebhorn priced at $40. New versions of "The Iliad" and "The Odyssey" are also coming this fall.
[image]Oxford University Press
A new translation of 'The Iliad' is coming this fall.
What possesses a publisher to produce a new version of a classic? The long answer is that costs are low—no big author advances are needed—and there is always a chance that a new version will become a hit in colleges, providing an annuity revenue stream.
And the short answer, at least in some cases, is that some translators are out to make names for themselves.
LEO TOLSTOY
"I thought I could do better," says Mr. Rebhorn, an English professor at the University of Texas at Austin who started work on "The Decameron" in 2006 after concluding that the translations he was teaching in his classroom fell short of the mark.
As an example, he cites a 1977 version, published by Norton, that includes a scene where a young man is described as being "naked from the waist down." Mr. Rebhorn says Boccaccio actually wrote the man was "naked from the waist up."
The distinction is critical to the meaning of the scene, a central point of which is a red birthmark on the man's chest, says Mr. Rebhorn.
One of the translators of the 1977 version, Peter Bondanella, a distinguished professor emeritus of comparative literature, film studies and Italian at Indiana University, appeared a tad put out when told of Mr. Rebhorn's critique.
"I would be happy to address this question if you allow me to go over Wayne's edition and find some mistakes that he can address," he said via email.
In a follow-up note, Mr. Bondanella said that mistakes are inevitable in translations of such long, complex works. "Each new translation profits from those that went before," he wrote. "I am sure that Wayne took a look at our version, especially since we tried to take a nonarchaic, non-British approach to Boccaccio's great and very clear vernacular Italian."
[image]Atria Books
A new translation of 'The Odyssey' is coming this fall.
Mr. Bondanella said he would seek to correct the error that Mr. Rebhorn spotted in future editions.
But such concerns provide impetus for some translators, such as Rosamund Bartlett, who is translating one of the coming new versions of "Anna Karenina," for Oxford University Press. (Another, translated by Marian Schwartz, will be published by Yale University Press.) Ms. Bartlett describes herself as a "perfectionist," one reason her translation has taken seven years, three years longer than Tolstoy took to write the book in the first place. She also wrote a well-received biography of Tolstoy during that period.
Her exactitude comes through in her focus on the correct translation of a word used to describe footwear in a hunting scene, featuring an aristocrat dressed in shabby clothing and wearing a summer peasant shoe made from a simple piece of leather.
The late translator Constance Garnett, whose published translation first appeared in 1901, described the footwear as "spats," which Ms. Bartlett says is "an example of where she was off the mark."
Richard Pevear and Larissa Volokhonsky, in their best-selling version, described the footwear as "brogues," which Ms. Bartlett believes conjures up an image of "smart shoes with perforations." She decided to describe the shoes as "light peasant moccasins."
Yet even the choice of "moccasin" contains within it the seeds of misunderstanding, she notes, since there are many relatively fancy moccasins available for sale today. "It's a loaded word, particularly in the U.S.," says Ms. Bartlett.
"Most disagreements over words ignore the context, which is all important," responds Mr. Pevear in an email. He says Tolstoy's original word for the shoes, "porshni," "is obsolete in Russian," describing "primitive peasant shoes made from raw leather." He says that is "rather close to the first meaning of brogues in the Oxford English Dictionary: 'rough shoes of untanned hide.' "
[image]W.W. Norton & Co.
A new 'Decameron' is coming this month.
As Ms Bartlett's seven-year effort suggests, translating is a labor of love for many. Certainly, no one goes into the field to get rich. Ms. Bartlett's entire advance for the book was £4,500, or about $7,000. Although she is also entitled to author royalties, she expects it "will be a long time before I get those."
Judith Luna, a senior commissioning editor at Oxford University Press, said one reason Oxford is bringing out a new edition is that "we want to have a 21st-century translation with a critically up-to-date introduction and notes."
For some, the act of translation confers its own rewards. This November, Robert Weil, publishing director of Norton's Liveright Publishing imprint, is publishing two of Tolstoy's works translated by Peter Carson in one volume, "The Death of Ivan Ilyich & Confession." The work combines a piece of fiction and Tolstoy's spiritual memoir. Mr. Carson completed his translation only a few days before dying.
"He consciously chose to spend the last year of his life translating this book," says Mr. Weil.
Can there be too many translations of a single work? Apparently not, because certain classic titles strike some publishers as simply irresistible. These include Murasaki Shikibu's 11th-century novel "The Tale of Genji," which has been published by Penguin Classics and others.
Yet Jill Schoolman, publisher of Brooklyn-based Archipelago Books, says she is mulling a new one.
"There's always room for another excellent translation," she says.
Write to Jeffrey A. Trachtenberg at jeffrey.trachtenberg@wsj.com

2013年9月5日 星期四

Alessandro Baricco《星座: 莫札特、羅西泥、本雅明、阿多諾》/洪蘭2譯作錯誤多 挨諷黑心商品





 編者有一注法文本題為星座: 莫札特羅西泥本雅明阿多諾

笑死人 2009 Constellations
亚历山德罗.巴里科 / 广西师大 / 艺术与哲学札记 / 16.00 / 平装 / 曹胜超翻譯: 這本翻譯是我讀過最有自覺的談轉譯的比較和更正.....連Alessandro Baricco在台灣的翻譯情形都很了解: 敢說出評比. 
作者: 亚历山德罗.巴里科
出版社: 广西师大
副标题: 艺术与哲学札记
译者: 曹胜超
出版年: 2009
页数: 153

 Alessandro Baricco《星座: 莫札特、羅西泥、本雅明、阿多諾》


 我沒去找所謂錯誤一籮筐的臚列......

翻譯錯一堆 洪蘭暢銷書可退

《快思慢想》挨轟 美教授批「劣作」

洪蘭(左圖)譯書《快思慢想》挨轟錯誤多,誠品和天下文化同意退書。
【蔡 永彬╱台北報導】長期投入科普著作翻譯的中央大學認知神經科學研究所所長洪蘭,其翻譯的暢銷書《快思慢想》驚爆因翻譯錯誤太多,迫使誠品及出版商天下文化 同意退書;誠品昨指近日有部分消費者反映該書翻譯問題多,因此同意依瑕疵書處理方式退費;天下文化說,視個案退書,且只能更換其他書籍。

天下文化拗消化再寫

《快思慢想》作者為2002年諾貝爾經濟學獎得主丹尼爾卡內曼(Daniel Kahneman),內容剖析大腦思考運作模式,去年底中文版出版售價500元,曾登暢銷書排行榜,至今累積出版達18萬本。
但 不少網友近日po文指《快思慢想》翻譯錯誤一籮筐,美國加州州立大學溪口分校教授王偉雄更痛批該書是「不要臉的劣作」,直指第1章第2段幾乎每句都譯錯, 例如could solve it, with paper and pencil, if not without,正確譯法應是「即使不能心算,用紙筆當可計出答案」,但洪蘭卻錯譯成「如果你有紙和筆的話你會算算看。如果沒有紙筆的話,你就不會做,因 為你知道自己的心算能力。」
誠品昨表示已同意退書、退費,但未統計數量。金石堂、博客來未接獲讀者要求退書。
天下文化昨強調,經檢查認定《快思慢想》翻譯正確,洪是「消化」原作再寫,若逐句對照會有點不同;同意視個案退書,但只能換書不能退費,現僅1、2人退書。

「問題在於文意理解」

去年獲「吳大猷科學普及著作獎」翻譯類金籤獎的專業譯者潘信宇說,以前述王偉雄舉例來看,洪蘭的問題不在翻譯,而是對文意的理解和概念;此外實務上的確可能消化全文再翻譯,但須與逐字翻譯兩案併陳給出版社、並註明段落,因此出版社也有把關之責。
《蘋果》昨致電洪蘭,她拒做回應;至截稿前無法聯繫上王偉雄取得其說法。

洪蘭小檔案 66歲

◆學歷:
台灣大學法律系畢業
美國加州大學河濱分校心理學博士
◆現職:中央大學認知神經科學研究所所長
◆家庭:已婚,丈夫為教育部前部長、現任台灣聯合大學校長曾志朗,育有1子
◆研究領域:認知心理學、語言心理學、神經心理學與神經語言學等
資料來源:維基百科、中大網頁、《蘋果》資料室

----

洪蘭2譯作錯誤多 挨諷黑心商品




〔記者陳怡靜、李容萍、趙靜瑜/綜合報導〕知名學者洪蘭最近在網路上引發熱議,她的譯作《語言本能—探索人類語言進化的奧秘》與《快思慢想》被網友指出錯漏百出,有人還諷刺其為「黑心商品」,香港教授王偉雄更撰文批評,認為譯者與出版社都對不起讀者。
洪蘭現為中央大學認知神經科學所所長,著作與譯作等身。但日前有網友在中國網路書店上發現,洪蘭翻譯《語言本能》一書遭評論者痛批:「錯誤多如過江之鯽…譯者毫無語言學知識準備,英語水平也極低下。」
該網友批評,洪蘭不只部分段落略過未譯,專業用語亦錯譯,例如stop應譯為語音學的「塞音」,洪卻譯為「停止」;part of speech是常見文法用詞,應譯為「詞類」,但洪譯為「口語的類別」。
香港教授直批不要臉的劣譯
在 美國加州州立大學任教的香港教授王偉雄上週也在網誌發表「不要臉的劣譯」文章批評洪蘭,並以《快思慢想》舉例:「could solve it, with paper and pencil, if not without」原意近似「即使不能心算,用紙筆亦可計出答案」,卻被譯成「如果沒有紙筆的話,你就不會做,因為你知道自己的心算能力」。
王偉雄直言,原作很精彩,但隨手翻洪蘭譯本幾頁,就讓他一肚子火,「這樣的翻譯,對不起付錢買書、花時間看書的讀者,對原作者也是污辱。若出版社買下獨家翻譯權,那英文能力不夠者只能望書興嘆了。」
記者進一步與王偉雄取得聯繫,他指出,洪蘭譯本的問題不單是直譯或硬譯,還包括錯解原文、隨意增刪、胡亂翻譯已有通用翻譯的專門用語。他強調,譯本優劣對於不懂外文的讀者很重要,「譯者與出版社有責任保證不會隨意增刪。在信、雅、達三方面,至少要做到信和達。」
洪蘭:虛心接受批評
洪蘭則透過中央大學新聞組做出回應表示:「讀到好書,要努力介紹給國人,翻譯有不盡理想的地方,有人指正批評,當然要虛心接受,讓自己再進步!」
再版是否會修正?出版《快思慢想》的天下文化編輯部表示,總經理林天來不在台灣,無法回應;商周出版則表示,《語言本能》一九九八年出版,二○○四年重新出版,是否有再版計畫仍不確定。

2013年9月4日 星期三

日-漢-韓的翻譯之討論: 【林文月先生學術成就與薪傳國際學術研討會】第一場 But almost nothing is truly untranslatable

Some people apparently think that fairness is a particularly English concept. The word "fair" was added to the most famous German dictionary in 1915. But even if there is no exact one-to-one word foreign equivalent for "fair", this does not mean that "fairness" is "untranslatable". Lists of "untranslatable words" bounce around the internet constantly. They're good fun. But almost nothing is truly untranslatable http://econ.st/1ehBcKY




【林文月先生學術成就與薪傳國際學術研討會】林文月先生:八十自述、第一場、 林文月教授八十回顧展

這一場牽涉到日-漢-韓的翻譯之討論  很值得看看各篇論文
第一場
10:45-12:10
鄭清茂
川合康三林訳源氏物語の和歌
金文京 蓬萊文章陶謝筆──謹評林文月教授的日本古典文學譯介
金南喜 老師的第三支筆──林老師,飲酒詩和我
朱秋而
中譯本《源氏物語》試論──以光源氏的風流形象為

2013年9月1日 星期日

筆記: scarecrow;胡適之先生談翻譯之一/胡適之的編譯會/林文月教授八十回顧展

林文月 先生是少數有香港等地翻譯學會"會/院士"的人......



林文月教授八十回顧展
    • 開幕時間:2013年9月3日(週二)上午10:30
    • 展覽時間:2013年9月3日至9月27日    特藏組開放時間
    • 展覽地點:國立臺灣大學圖書館五樓特藏資料展覽區
    • 主辦單位:國立臺灣大學圖書館、國立臺灣大學中國文學系
    • 指導教授:國立臺灣大學中國文學系‧臺灣文學研究所 兼任教授  柯慶明
    • 聯絡方式:TEL:02-33662342 /E-mail:tulcg@ntu.edu.tw
      林文月教授八十回顧展

林文月教授籍貫臺灣彰化,1933年生於上海。就讀臺灣大學中國文學系、研究所,以優異成績畢業後,留校任教,歷任講師、副教授、教授,於1993年夏退休,獲臺大中文系榮譽教授銜。其重要學術著作有:《山水與古典》、《中古文學論叢》等,甚受歡迎。
林教授1969年獲國科會補助,前往日本京都大學人文科學研究所研修中日比較文學,以餘暇撰寫《京都一年》散文集,奠定她作為當代散文名家 的地位。其散文集《遙遠》獲第五屆中興文藝獎散文項獎、《午後書房》獲第九屆時報文學獎散文推薦獎、《交談》獲第十四屆國家文藝獎散文類獎、《飲膳札記》 獲第三屆臺北文學獎。
林教授因研究白居易對平安朝文學影響,在撰寫〈源氏物語桐壺與長恨歌〉論文時,開始了《源氏物語》的翻譯,並因此獲第十九屆國家文藝獎翻譯 成就獎。其後陸續翻譯日本古典文學名著,尚包括《枕草子》、《和泉式部日記》、《伊勢物語》等。亦因林教授在翻譯日本古典文學作品之諸多成就,日本東亞同 文書院特頒贈紀念賞。2012年以多種貢獻獲頒行政院文化獎。
欣逢林教授八十壽慶,臺大中文系為其舉辦國際學術研討會,圖書館亦同時舉辦「林文月教授八十回顧展」,展出其手稿資料、畫作及藏書,並播放「午後書房」紀錄片,意義非凡,歡迎各界前來參觀。
 展覽內容分為:
(一)展出緣起
(二)活水源頭
(三)師弟情緣
(四)生平簡介
(五)中古:中、日(學術論著)
(六)始於京都(散文創作之一)
(七)擬古 • 飲膳(散文創作之二)
(八)讀人 • 寫書(散文創作之三)
(九)兩大物語
(十)譯解女性
(十一)書信、評述


*****
胡適日記全集, 第 6卷 1930-33
頁730  1933.12.23   胡適之先生"校讀張恩裕翻譯的Tess....

张恩裕(1903~1994)笔名张谷若。山东烟台人。1930年毕业于北京大学西语系。
张谷若以成功译介哈代的三部小说《还乡》、《德伯家的苔丝》、《无名的裘德》而著名,其中《德伯家的苔丝》译本最受广大读者欢迎。...

周作人1966.2.10 致信香港的徐訏   說他1937-38一年"......靠胡適之的編譯會的譯書的事 總算混過去了....."---hc按: 周要養約10口人
這編譯會是中英基金會支持的. 胡適給的稿費通常可讓教授一年生活 (卞之琳拿預付款到日本去翻譯.....)
------
胡適日記全集, 第 6卷 1930-33
頁730  1933.12.23  可讀 胡適之先生談翻譯之一:.....今不加咀嚼....豈不更失翻譯原意....


*****scarecrow
Pronunciation: /ˈskɛːkrəʊ/
Translate scarecrow | into French | into German | into Italian | into Spanish 
 胡適日記1933.12.28 說周作人提議採用古人翻譯為"安山子"並撰一文說明
 胡適日記全集 -
此慷可兑著者之籍跋。其所范燕子情状,是很好的勤物心理想察。我在廿镣年前曾凝静 Scarecrow 』侗字,格不能满意。周作人先生貌古人名震「安山子, ,曾作短文希之。
胡適翻譯為"驚鴉"   這是讀"驚燕"筆記得的靈感...
這些文人想法都沒傳世: 現在台灣稱之為"稻草人"不知誰的翻譯  日本早有他們的稱呼無漢字

noun

  • an object made to resemble a human figure, set up to scare birds away from a field where crops are growing.
  • informal a person who is very badly dressed, odd-looking, or thin: a gaunt little scarecrow in threadbare workhouse clothes she has reduced herself to a scarecrow [as modifier]:scarecrow tatters
  • archaic an object of baseless fear.