Promoting discipline of translation
Thomas Kuhn's famous book, The Structure of Scientific Revolutions, first published in 1962, with a second and enlarged edition in 1970 and followed by many reprints, has exerted a tremendous influence on literary and cultural studies far beyond its original purpose of understanding specific changes in the history of science.
Essential to this paper is Lefevere's Translation, Rewriting, and the Manipulation of Literary Fame (1992), which explains in detail the concepts of "rewriting" and "manipulation", and explores how translation is affected by four important factors, namely "ideology", "poetics", "patronage" and "professionals".
As part of a research project on translation, the paper investigates and studies both Chinese and Western metaphors of translation that have appeared since classical times. Based on the more than 260 Chinese and English language metaphors that have been collected by the investigator in the research, the paper takes a diachronic and descriptive view of issues, and offers some in-depth analyses and discussions of how metaphors can serve as an important window on the ways in which we see translation.
The witty Italian formulation traduttore-traditore (translator-traducer) is an appropriate point of departure for this seminar on cultural adaptation and translation for the stage. As recently as the beginning of the last century a great playwright like Chekhov could express profound scepticism about the ability of the literary translator to translate the cultural specificities of his plays into a language other than Russian.
This paper analyzes several terms used in ancient China to refer to the activity/activities now called 'fanyi' in Chinese, or 'translation' in English. By tracing the pattern behind the semantic and ideological jogging amongst these terms, the paper offers a new interpretation of the earliest Chinese attempts to define translation ('fanyi').
Faced with an increasingly polarized and violent world in which the opportunities for remaining 'neutral' are continually being eroded, translators - like most professional groups - are finding it difficult to position themselves, individually and as a group, in relation to various narratives that circulate around them and among them.
語篇分析途徑指的是以功能語言學理論爲基礎、探討語言意義、人際關係和語篇功能在交際中如何體現的研究方法。翻譯研究中的語篇分析涉及兩種語言、兩種不同的文本、兩個讀者群體以及他們所生活的兩種不同的文化社會，因而較之單語中的語篇分析更爲複雜，也更有研究的價值。本講座討論的重點是：（1）語篇分析途徑的範圍及其特點；（2）語篇分析途徑對英漢翻譯研究的應用意義。
龐德先後兩次將《大學》譯成英文，第二個譯本與原作有著明顯的不同。本文回顧該譯本產生的歷史情境，譯者的翻譯目的以及闡釋方法，以豐富的例證表明，基於對漢字片面理解的析字法，其實是龐德實踐其現代主義詩學和更新、復活儒學的手段；而他頗具後現代特色的語言觀和翻譯觀，也通過這種獨特的翻譯方法得到體現。
Jane C.C. Lai has a long association with the Hong Kong theatre scene, mainly in the area of translation of playscripts for performance. She translated (with Martha P.Y. Cheung) 100 Excerpts from Zen Buddhist Texts (1997) and (with Martha P.Y. Cheung and others) Hong Kong Collage: Contemporary Stories and Writing (1998). Jane C.C. Lai is the founding director of the Centre for Translation.
《結婚集》(Married)是瑞典劇作家兼小說家斯特林堡 (August Strindberg, 1849-1912) 的短篇小說集。梁實秋於一九三○年出版了中譯本《結婚集》(上海中華書局)，是根據瑟爾查 (Thomas Seltzer) 一九一七年的英譯本轉譯而來。但瑟爾查的英譯本有十九篇故事，梁實秋只選譯了其中的九篇。梁實秋為什麼沒有翻譯另外十篇？在文藝思想上，梁實秋與斯特林堡有很大的差別，他為什麼要選譯斯特林堡的作品？
