朱莉娅的眼睛（精选3篇）
篇1：安吉丽娜·朱莉的华丽转身
Who on Earth doesn’t know this woman? Yes, well-known as an Oscar-winning actress and also a professional model, Angelina Jolie never sit back watching her success. And she has always been named the world’s“most beautiful”woman by various media outlets, no matter what role she’d play.
Angelina Jolie Turns into a Wicked Witchcareer, Angelina Jolie had tackled addiction, mental illn
Over the course of her career, Angelina Jolie had tackled addiction, mental illness, and serial killers (inmovies, of course) , but this time, after a three and a half year absence from the screen, Jolie starred in thefilm Maleficent (《沉睡魔咒》) , taking on an evil force so powerful that it’s been giving kids—and some adults—nightmares for decades. She played the titular (标题上的) role, Maleficent, the main antagonist (反面人物) fromDisney’s 1959 animated feature Sleeping Beauty. The film showed the original story from Maleficent’s perspective, revealing the character’s background. Jolie’s performance was singled out for praise. Critic Sheri Linden ofThe Hollywood Reporter found her to be the “heartand soul”of the film, adding that she“doesn’t chewthe estimable scenery in Maleficent—she infuses it, wielding a magnetic and effortless power”.
That was a passion project for Jolie, 39, whosaid she was ready to try something big and boldthat her six kids—Maddox, 12, Pax, 10, Zahara, 9, Shiloh, 8, Knox, 5, and Vivienne, 5—could watchand enjoy.
“I’ve never done anything this big. I’m not really a theater actress and I’m not a comedian, ”shesaid.“That’s a really nice change, because you getout of your head and you remember that you’re thecourt clown; you’re there just to simply make a foolof yourself or not and hope that people enjoy it.”
Obviously, she made it. The film grossed $69.4million on its opening weekend in North America, making it the largest opening performance in Jolie’scareer, and one of the highest opening weekend fora solo female star.
What she will be next then?“That’swhere you finish, in a great way. Youkind of go, ” she confessed when askedabout her next role.
Angelina Julie has long hinted thatshe wants to step away from acting—ordoing less of it—to focus on her otherpassions, including her humanitarian (人道主义的) work.
Angelina Jolie Turns into aGoodwill Ambassador (亲善大使)
Actually this part of Julie’s life isnothing new. She has proved her goldenheart long before adopting three childrenalong with the three children born to her.But it’s just going to become her maincareer instead of being an actress.
Her interest in humanitarian affairs was inspired in 2000 when she went to Cambodia to film the adventuremovie, Tomb Raider (《古墓丽影》) which was an experience she later credited with having brought her a greaterunderstanding of the world. Upon her return home, she contacted the United Nations High Commissioner for Refugees (UNHCR, 联合国难民事务高级专员) for information on international trouble spots. To learn more about theconditions in these areas, she began visiting refugee camps around the world. She later expressed her shock atwhat she had witnessed and, eversince, her interest and determinationto help the displaced (无家可归者) , publicize their plight (困境) and lobby ( 游说 ) for international assistance has never flagged.
In the following months, she returned to Cambodia for two weeksand met with Afghan refugees inPakistan, where she donated $1 million in response to an internationalUNHCR emergency appeal (呼吁) , the largest donation UNHCR had ever received from a private individual. She covered all costs related toher missions and shared the same poor working and living conditions as UNHCR field staff on all of her visits.
Named a UNHCR Goodwill Ambassador in 2001, Jolie has carried out more than 40 field missions tosome of the most remote regions of the world to highlight the plight of millions of uprooted people and to advocate for their protection.
In addition to her field missions for UNHCR, Jolie has made it her mission to give a voice to refugeesand internally displaced people. She undertakes advocacy on their behalf, representing UNHCR and the HighCommissioner at the diplomatic level and engaging with others on global displacement issues. Her work helps tofacilitate (促进) lasting solutions for people displaced by conflict and has inspired others to take a more activerole.
When asked about why she was so moved by the refugees that she even relocated so many of them, shesaid that the refugees should be admired for their courage to withstand such situations and should not belooked down upon. Such is her compassion towards humanity.
“We cannot close ourselves off to information and ignore the fact that millions of people are out there suffering. I honestly want to help. I don’t believe I feel differently from other people. I think we all want justice andequality, a chance for a life with meaning. All of us would like to believe that if we were in a bad situationsomeone would help us.”
—Jolie on her motives for joining UNHCR in 2001
In 2003, she started the Maddox Jolie-Pitt Foundation project dedicated to conservation in Cambodia, which later expanded to agriculture, education, health care, vocational training, infrastructure (基础设施) , ruralplanning and micro-credit programs.
In 2005, she launched the National Centre for Refugee and Immigrant Children, an organization that provides free legal aid to young asylum-seekers (寻求政治庇护者) . In 2008, she partnered with Microsoft to launchKids in Need of Defense (KIND) , a pro bono (无偿的;公益的) movement of law firms, corporate law departments, NGOs and volunteers committed to providing legal advice to unaccompanied immigrant children in theUnited States. She also co-chairs the Education Partnership for Children of Conflict, which helps fund educationprograms for children affected by conflict.
In 2007, Jolie became a member of the influential Council on Foreign Relations (CFR) . Jolie has sincefunded various CFR special reports. Following several visits to Haitiin 2010, she established the Jolie Legal Fellows Program to enhancegovernment capacity around the rule of law. The program placesyoung lawyers within the existing structures in Haiti to support thegovernment’s child protection efforts.
篇2：朱莉和朱莉娅:品尝爱的味道
影片根据两本畅销小说改编,分别是Julie Powell的《朱莉和朱莉娅:365天,524道菜谱,1间小厨房》(Julie & Julia: 365 Days, 524 Recipes, 1 Tiny Apartment Kitchen)和Julia Child的自传《我在法国的生活》(My Life in France)。影片的编剧和导演把两本书的内容巧妙地结合在一起,不仅把一份份以文字为主的美食菜谱影像化,而且用生动的电影语言将两个不同时代的女人因美食而获得快乐和成长的经历呈现在观众面前。影片以两个重心来叙说故事:一个是Julia在法国学习烹饪的经历,一个是Julie如何在自己的生活里一步步实践各种美食菜谱的经历。两部分的故事用两个人烹饪美食的经历串联起来,生动活泼,妙趣横生。但美食并不是影片的真正主角,影片的主题也不仅仅局限在烹饪美食上,而是通过两个女人对烹饪美食的热爱,表现出她们独立自主、寻求自我价值的自信女性形象。
Julia —— 学习烹饪美食,生活充满乐趣
时光倒流回1949年的法国巴黎。Julia的丈夫Paul Child是美国外交官,被派驻到法国,Julia随丈夫到巴黎任职。面对陌生的国度和生活环境,一句法语也不会说的Julia却能够很快适应。她很享受在巴黎的时光,能如鱼得水地与当地人相处。正如Julia的丈夫在写给弟弟的信中所说:“Julia loves it here. She wants to stay forever.”初到巴黎的Julia对这个陌生的城市一见钟情。她喜欢这里的人们,喜欢这里悠闲的生活步调,喜欢这里五花八门的新鲜蔬菜和水果,喜欢这里的美食与浪漫优雅的情调……在Julia的眼中,巴黎的一切都是那么充满魅力,她认为在巴黎的人们是“the most wonderful people in the world”,甚至宣称:“I feel that I am French. I just must be. French people eat French food! Every single day!”
可是,在巴黎的生活对于Julia来说,似乎还缺了些什么。她的丈夫有着受人尊重的职业,而她则是一个跟随丈夫来到异乡整天无所事事的家庭主妇。她开始和丈夫Paul商量她应该做点什么。
Julia: What should I do, do you think?
Paul: About what?
Julia: I don’t really want to go back into government work. You know, but I ... Shouldn’t I find something to do? These wives don’t do anything here. That’s not me. It’s just not me.
Paul: I know.
Julia: I saw a notice on the bulletin board at the embassy for hat-making lessons.
Paul: You like hats.
Julia: I do. I do. I do.
Paul: What is it that you really like
to do?
Julia: Eat. It’s what I like to do.
与丈夫一起参加聚会和展览,与法国太太一起做一些手工活,甚至去上桥牌课,都不能让Julia感到充实。于是,Julia打算学习做法国菜。她只能从学法语开始,因为在法国她买不到一本英文的烹饪书。从丈夫送给她的一本厚厚的法国菜烹饪大全开始,Julia下定决心要学会做法国菜。那个时候的她不会料到,她最初的一个小小梦想,最后竟成为对美国饮食影响颇深的一本烹饪著作,并在五十多年后影响和激励着另一个女性Julie坚持追求自己的烹饪梦想。
Julia在巴黎学习烹饪的道路是艰难的。首先是语言的障碍,其次是烹饪学校对她能力的轻视。一开始,Julia被安排到为一般家庭主妇设置的初级烹饪培训班里。可是Julia忍受不了只是学习如何煮鸡蛋之类的简单课程,她想要学的是如何做纯正的法国菜。于是她向烹饪学校的负责人Madame Brassart提出申请,说要学难一点的课程,即使学费高也不在乎。但显然,Madame Brassart对她并不看好。
Julia: I was so hoping that ... well, for something a little more advanced, Madame Brassart.
Madame Brassart: But you are not an advanced cook.
Julia: But I do know how to boil an egg.
Madame Brassart: Do you know how to bone a duck?
Julia: No. But that’s exactly the sort of thing that I’m very interested in learning how to do.
Madame Brassart: There is one other class, but you will not like it. It’s for professional, which you will never be. I’m sure. All men. And very expensive. I cannot imagine that you would ever want to pay the tuition.
Julia: How much?
Julia终于如愿以偿,从初级班来到了为职业厨师设置的高级厨艺班。正如Madame Brassart所说,在高级班里学艺的全是男士,而且个个比Julia水平高。课程就从学如何快速切洋葱开始。显然,Julia的速度和技术完全跟不上那些基础扎实的男厨们,也因此遭到了大家的轻视和质疑。为了能够赶上进度,不服输的Julia下课后开始在自家厨房里不停地练习切洋葱。 Paul下班回到家,看到满腹委屈的Julia还在坚持练习,他都没来得及进厨房,就因忍受不了洋葱的刺激气味而“逃之夭夭”了。
Paul: Jule? You’re being a little over-competitive, don’t you think?
Julia: Well, you should’ve seen the way those men looked at me. As if I were some frivolous1) housewife just looking for a way to kill time.
Paul: Well ...
Julia: Where are you going?
Paul: Not here.
经过刻苦练习,Julia终于成为全班切洋葱速度最快的女学生,让那些前几天还瞧不起她的男人们对她刮目相看。在之后的课程学习中,Julia在烹饪上的天赋得以充分展现,再加上后天的认真学习,她很快就从高手云集的厨艺班中脱颖而出。
Julia在写给笔友Avis的信中这样形容她每日学习烹饪的生活:“Dear Avis, I’m in my third week at Le Cordon Bleu, and I’m in utter bliss. Every morning the alarm goes off at 6:30, and I leap out of bed. I’m up! By 7:30 I’m in class in my apron, peeling potatoes. Then we cook stock and we bone fish. We dress pigeons. We make pastry2) with so much butter it almost stops your heart just to look at it. My teacher moves so quickly.
I’m sometimes lost. But I’m way ahead of the others in the class, all of them men, and all of them very unfriendly, until they discovered I was fearless, something I realized about the same time they did.… Fun! Joy! This is what matters. I’m probably the only American I know in Paris who thinks shopping for food is as much fun as buying a dress .… Avis, I am in heaven here. I’ve been looking for a career all my life ...”
Julia把学习烹饪当做了一种极大的乐趣,对之倾尽了自己的所有激情。她的努力和自信,再加上丈夫的支持,让她即使面对烹饪学校女负责人的嘲讽时也无所畏惧,并轻松地通过了职业厨师资格证的考试。她甚至与另外两个美国女人成立了一个美食小课堂,教生活在巴黎的美国人做法国菜。后来,她们决定把在巴黎学习烹饪的经历写成一本书,一本教美国人轻松掌握法国料理的烹饪书。
可是,书出版的过程却充满了坎坷,先后遭遇了合作出版风波、出版社编辑的质疑等一波三折的磨难,最终也未能如Julia所愿及时出版。事隔多年,当Julia和丈夫回到美国的住处后,一封信寄到了他们的宅邸。谁都没有想到,这封看上去普通的信竟让Julia的梦想成真,并最终开启了Julia在美国的烹饪事业全新发展的黄金篇章。信是由一个同样热爱美食和生活的女编辑Judith Jones寄出的,她在信中这样写道:“Dear Mrs. Child, we have read your superb French cookbook, studying it, cooking from it, estimating, and so on. And we have come to the conclusion that it is a unique book that we would be very proud to publish. We believe that your book will do for French cooking in America what
Rombauer3)’s Joy of Cooking did for standard cooking. And we will sell it that way.”Julia的书最终得到了出版,即《掌握烹饪法国菜的艺术》(Mastering the Art of French Cooking)。正如Judith Jones所言,这本书成为美国有史以来最畅销的美食著作,在美国掀起了一股经久不衰的烹饪法国菜风潮。
Julie —— 实践名厨食谱,找回生活自信
时间跨越至2002年的纽约。在政府部门负责接听投诉电话的小职员Julie与丈夫Eric一起搬到了新租的公寓里。面对日复一日无聊透顶的工作和乏善可陈的生活,Julie唯一的乐趣只有烹饪。她有着不错的烹饪天赋,在她看来,只有烹饪能让她紧绷了一天的神经得到片刻的休息。
Julie: You know what I love about cooking?
Eric: What’s that?
Julie: I love that after a day when nothing is sure, and when I say “nothing” I mean nothing, you can come home and absolutely know that if you add egg yolks to chocolate and sugar and milk, it will get thick. It’s such a comfort.
在一次与朋友的聚会上,Julie发现曾经的闺蜜们都拥有了自己的事业,成了独当一面的女强人,而自己却只是一个普通得不能再普通的投诉电话接线员,内心备感失落。告别了闺蜜和她们言谈中繁华、热闹的生活,Julie回到了自己的生活圈,继续过那仿佛一眼便可望尽的人生:接着日复一日的电话、做着朝九晚五的工作、过着乏善可陈的生活。可这是一个将近三十岁的女人真正想要的生活吗?这样一成不变、毫无目标、缺乏梦想的日子她能继续忍受吗?不!于是,Julie决定改变自己的生活。受到闺蜜写博的刺激和启发,并在丈夫Eric的支持下,Julie决定开始自己的博客生涯。可是,写什么呢?
Julie: What would I write a blog about? You’re an editor, tell me.
Eric: You could write about your job.
Julie: If I wrote a blog about my job and anyone at work ever read it.... On top of which, the whole idea of writing a blog is to get away from what I do all day. The way that ... cooking is a way that I get away from what I do all day.
Eric: So write a blog about cooking.
Julie: I’m not a real cook, like Julia Child.
Eric: Julia Child wasn’t always Julia Child.
Julie: If I really wanted to learn to cook, I could just cook my way through Julia Child’s cookbook. I could blog about that. I have a copy. I stole it from my mother last time I was in Texas. When I was eight, my
father’s boss came to dinner and it was a really big deal, and my mother made boeuf bourguignon4). But it wasn’t just boeuf bourguignon. It was Julia’s boeuf bourguignon. And it was like she was there, like Julia was there in the room, on our side like some great big good fairy. And everything was going to be all right.
谈起美食,谈起自小就崇拜的Julia Child,Julie总是兴奋不已。决定写美食博客后,Julie认为应该给自己的人生制定一个短期计划,并且尽可能地去完成它。在丈夫的支持和帮助下,Julie建立了一个名为“The Julie/Julia Project”的博客。Julie在博客的介绍上写道:“Nobody here but us servantless American cooks.”Julie决定给自己一个挑战——依照Julia Child《掌握烹饪法国菜的艺术》一书上的菜谱,用365 天,做524 道菜。
从此,Julie开始用博客记录每天的菜品做法和对生活的感受,并许下了诺言:一定要完成这个疯狂的美食烹饪计划,甚至以自己的婚姻、工作和猫咪的健康做赌注。其实,在心底,Julie也不知道自己能坚持多久。第一篇日志发出后,除了Julie的母亲之外,几乎无人问津。但Julie的母亲并不支持她写博客,为此还专门给Julie打来电话,让她放弃这个念头。
Julie’s mother: Well, that is silly. That is just plain silly. Who’s reading this blog?
Julie: People. People are reading it.
I’m sure.
Julie’s mother: Well, it’s something you decided to do, and you can decide not to, and not one single person’s gonna mind.
Julie: No. Don’t you get it? I just started. I can’t stop. I have to finish.
It’s all I’ve got.
虽然网上的反馈者寥寥,虽然母亲的质疑声强烈,Julie还是坚持了下去。在每日忙碌的工作之后,Julie在自己公寓内那间狭小的厨房里完成了一次又一次美食挑战,把每天的菜谱、烹饪心得以及对生活的感悟按时发表在博客上。从一开始只有同事和朋友关注,到渐渐有陌生读者回复,博客的点击率越来越高。越来越多的人开始按照Julie的菜谱完成每日的晚餐,并在回复中与她分享心得。
Julie手中的食物越来越美味,人们的关注也让她对博客的写作越来越投入,几乎到了痴迷的程度。她不厌其烦地试验新的菜式,兴致勃勃地发表烹饪感受,紧张兮兮地等待读者回复,连上班时间都在盯着博客猛看。Julie终于用烹饪这个爱好让自己波澜不惊的生活泛起了些许涟漪,为自己一成不变的日子注入了新的活力。然而,在丈夫Eric的眼中,有了梦想、有了目标、生活更充实的Julie似乎变了——以前热爱美食的Julie现在变成了美食博客的奴隶。她把全部的精力都放在了美食烹饪和博客写作上,不顾自己的健康,不顾爱人的感受,美食和博客以外的生活于她似乎已无甚意义。终于,当曾经出版Julia Child菜谱的编辑因突如其来的大雨未能如约与她见面时,心情沮丧的Julie几近崩溃,全然不顾Eric苦口婆心的劝慰,与之大吵一架,最终逼得忍无可忍的Eric愤然离去。Julie伤心而泣,她仿佛走入了迷境,困惑而沮丧,开始思考这一切是缘何而起。
Julie: I’ve been thinking about me and Julia. She was a secretary for a government agency and I am, too. A really nice guy married her. A really nice guy married me. Both of us were lost and both of us were saved by food in some way or other. So major overlaps. But let’s face it, I am not Julia Child. Julia Child never lost her temper just because something boiled over, or collapsed in the oven, or just plain fell through. And she was never horrible to her husband. I’m sure. And she never behaved like, “Who has time to be married?” Which is how I behave sometimes, I’m sorry to say. I wish I were more like her. She deserved her husband and I don’t. That’s the truth. Well, anyway, that’s the truth for now.
Julie在烹饪的过程中不仅学习Julia烹饪的技法,也在学习她的信心、快乐、对婚姻的守护以及对生活的热爱。最终,她与丈夫和好如初。Julie的厨艺与生活都渐入佳境,她记录烹饪方法和心灵感悟的博客受到了越来越多人的关注,进而吸引了主流媒体和出版社编辑的注意。最终,Julie和她的博客一起出名了,博客文章也得以结集出版。365天,524道菜谱——Julie实现了当初对自己的承诺。从某种意义上说,她已成为一个真正的成功女性。
篇3：朱莉娅的眼睛
一、模式简述
翻译评估的有效性取决于对翻译质量的定义。对翻译质量的正确认识, 才能做出科学的评估。所以首先要依据一定的翻译理论。不同的理论会导致不同的翻译质量定义, 因而也会产生不同的评估方法。要评估译文的质量, 首先必须弄清什么是翻译。
正如卡特福德指出“翻译实践的中心问题就在于寻找等值成分, 翻译理论的中心任务就是确立等值成分的性质和条件。”翻译的本质是对等, 但究竟等值的是什么。豪斯认为:对等并不是形式、句法和词汇上的相似, 而功能和语用对等。
豪斯认为翻译的实质在于“意义”从一种语言转移到另一种语言时保持不变。这里的意义包括三个方面:语义、语用和语篇意义。基于此, 豪斯定义翻译就是用语义和语用对等的译语文本代替原语文本。对译文质量的判断, 就是要看译文是否在这三种意义上与原文对等。同时, 豪斯认为要实现文本的对等, 译文文本应该有一个功能和原文文本的对等。而文本功能是建立在语言功能之上。首先必须确定文本的功能, 在此, 豪斯采用的是韩礼德的三种语言元功能:概念、人际和语篇功能。其中语篇功能是对信息的组织, 而信息即概念和人际功能所代表的内容, 因此它是一种言内功能, 其作用是辅助概念和人际功能的实现。其实这里的语义和语用意义就是功能语言学中的概念和人际意义/功能, 所以豪斯将文本功能归结为两个部分:概念和人际功能。因而译文是否达到对等, 要分析其是否在概念和人际功能上与原文对等或偏离。
然而如何确定文本的功能呢?译文和原文文本的功能是在特定情景语境中的体现, 文本和情景语境并非独立的实体, 是相互依存、相互关联的, 文本必须放在包含它的情境中分析。
在原模式中, 豪斯将原文和译文从情景语境的角度上, 划分了八个可以操作的情景维度/变量将行比较。之后在大量实践和试验的基础上, 她又提出了修订模式, 在系统功能语言学、语篇分析等理论基础上, 从三个不同层面:语言/文本、语域和体裁对原文和译文进行分析, 从而确定文本的功能。
其中的语域层面正是引用了韩礼德的语域三要素:语场、语旨和语式, 并修改了原模式中的八个情景维度, 保留在这三要素之中。其中语场是指主题内容和社会行为;语旨是参与者的关系, 其中包括“社会角色关系”, 即作者/译者和读者在社会权利、社会立场、情感因素等方面的关系, 也包括文本作者的时代、地理位置、社会地位以及对文本内容的个人观点, 还有“社会态度”, 分正式、商量和非正式三种风格;语式则是作者/译者与读者参与文本的渠道, 如口语或书面语, 以及参与程度, 如对白、对话等等。豪斯从三个层面去分析这些维度体现在文本中的语言对应物:词汇、句法以及篇章, 从而确立文本的语域特征。
此外, 豪斯把“体裁”纳入修订模式, 对语域的描述只局限于语言层面, 而“体裁”可以对文本的深层结构进行阐释, 是一个社会范畴。换句话说, 语域涵盖的是“文本”和“微观语境”的关系, 而“体裁”则是连接文本和文本所在的语言文化的“宏观语境”。语言体现语域特征, 语域特征又体现出文本的体裁, 而最终体现了文本的功能。豪斯的翻译质量评估模式实际上是由单个文本功能、体裁、语域和语言/文本四个部分构成。
二、翻译类型学:显性翻译和隐性翻译
然而, 豪斯的模式并不仅限于从上述的四个层面分析原文文本, 她认为这样分析原文文本并不完整, 正如赖斯所言, 文本功能是否对等还取决于原文的文本类型, 但与赖斯不同的是, 豪斯提出的是翻译类型学。在评估译文质量时, 需要分析的是原文需要怎样的翻译, 译文是否做出相应的选择。豪斯将翻译分为两种类型:显性翻译和隐性翻译。
1) 显性翻译“明显地”是翻译, 而不是“第二原文”。译文明显不是直接面向译语文化读者的, 而需要显性翻译的原文在原语文化中享有一定的地位和价值, 其中包括演讲、文学文本等。正因为与原语文化有一定的联系, 翻译时, 无法实现原文的功能对等, 只能达到所谓的“第二层次的功能对等”, 即译语语言文化中, 有一定教育背景的中层读者和它对应的原语文化中非原读者之间的功能对等。对于显性翻译, 译者的主要任务是要让译语读者进入原文及其对原文读者的文化影响, 使译语读者“从外”来判断文本。
(1a) “晋太元中, 武陵人捕鱼为生, 缘溪行, 忘路之远近;忽逢桃花林, 夹岸数百步, 中无杂树, 芳草鲜美, 落英缤纷。渔人甚异之。复前行, 欲穷其林。林尽水源, 便得一山。山有小口, 仿佛若有光。便舍船, 从口入。”《桃花源记》———陶渊明
(1b) “During the reign of Taiyuan of Chin, there was a fisherman of Wuling.One day he was walking along a bank.After having gone a certain distance, he suddenly came upon a peach grove which extended along the bank for about a hundred yards.He noticed with surprise that the grove had a magic effect, so singularly free from the usual mingling of brush wood, which the beautifullygrassygroundwas covered with its rose petals.He went further to explore, and when he came to the end of the grove, he saw a spring which came from a cave in the hill.Having noticed that there seemed to be a weak light in the cave, he tied up his boat and decided to go in and explore.”
原文是陶渊明写于晋朝, 在原语文化中享有一定的地位, 而且作者用的是文言文, 四字格颇多, 翻译已经无法达到原文的原读者和译语读者的功能对等, 而只能将文言文译为现代汉语, 并翻译成现代英语, 以达到译语读者和原语非原读者之间的功能对等。
2) 隐性翻译是让读者看不出译文是翻译, 使译文在译语文化中与原文在原语文化中享有同等的地位。原文文本不与原语特定的文化和读者相联系, 比如商业、科学文本、旅游手册等。翻译是要将原语的语言文化在译文文本中得到再现, 而不是把译语读者带入原语的语篇世界。因为原语文化和译语文化间存在着文化预设的差异, 翻译时, 要达到功能对等必须采用“文化过滤”, 将不符合译语文化习惯的过滤, 但在缺少完整的民族学研究的条件下, 这决定于译者和评估者的主观判断。
(2a) “Since men revives his past experience because of the interest addedto what would otherwise be the emptiness of present leisure, the primitive life of memory is one of fancy and imagination, rather than of accurate recollection.//After all, it is thestory, thedrama, what counts.//Only those incidents are selected which have a present emotional value, to intensify the present tale as it is rehearsed in imagination or told to an admiring listener.”
“Reconstruction in Philosophy”———John Dewey
(2b) “这样看来, 人类追想过去的经验, 不过是因为往事的兴味可以消遣现在闲暇时候的无聊。//因为如此, 所以最初的追想大都是自由的想象, 未必是精确的追忆。//要紧的只是这个故事要说得圆满, 或这出戏文要唱得有趣。//多有选择材料就不免有点偏重。//中选的都是那些可以动听, 可以增加感情作用的情节。”
原文选自约翰·杜威的文章, 哲学本身并不是某个特定语言或民族的, 而是共享的。但是西方人论哲学, 句式复杂, 措辞严谨;而中国人则简洁明了, 自然押韵, 在翻译时译者过滤了两种语言文化中不同的文化预设, 所以 (2b) 虽是译文, 但看起来并不像翻译, 更符合中国人的言语习惯。
如果从模式中的四个层面上来看, 原文与其显性翻译需要在语言/文本、语域和体裁上达到对等, 但在文本功能方面, 只能达到第二层次的对等, 而原文与其隐性翻译要在体裁和文本功能上达到完全对等, 而在语言/文本和语域上, 因为文化预设的差异无法达到完全对等。但豪斯也指出“显性——隐性”并不是二元对立的, 所以在评估时要避免文本分类的绝对化。
豪斯的模式应用起来, 大致可以分为四个步骤: (1) 对原文进行语域、体裁的分析, 得到一个关于文本功能的框架, 包括概念功能和人际功能两个部分; (2) 对译文进行同样的分析, 得出相对应的功能框架; (3) 将译文和原文的文本功能框架进行比较, 对出现的错误和不匹配进行说明; (4) 陈述翻译的质量, 考虑到原文和所需的翻译类型, 译文是否做到, 在哪些层面达到对等或不对等。对于译文中出现的错误和不匹配, 豪斯也提出了显性和隐性两种可能性。好的翻译不仅要在文本功能上与原文达到对等, 在语域三要素的各个维度上还需对等, 以达到文本的功能对等。任何维度上的不匹配就属于隐性错误型错误。显性错误型错误则包括文本中指称意义的错误以及译语语言系统的断裂, 如不合语法性或不符合译语的习惯用法。
豪斯在此模式中不仅提出翻译类型学, 还区分了翻译文本和改译文本 (version) , 相应地提出显性改译文本和隐性改译文本。对于显性翻译而言, 一旦把一种特殊的功能添加到译文文本上, 为特定读者群出版的特殊版本, 包括为儿童编写的简写本, 特殊工艺的普及本;或翻译目的改变, 如摘要性或总结性的译本, 这时就是属于显性改译文本。而隐性翻译则是译者对原语和译语的文化差异不当的预设, 例如对可读性或重点改变的错误看法造成的。
三、对模式的简评
豪斯模式不同于以往传统的评估方法, 既有微观标准, 又有宏观标准;既有定量分析, 又有定性分析, 具有科学性、客观性, 其中承认一定的主观判断, 也是为了更好的体现客观性的要求。模式采用功能和语用对等, 并提出翻译类型学有助于分析原文文本的特征。它是第一个具有完整的理论和实证的翻译质量评估模式。
但豪斯模式也存在着不足之处。
模式虽立足于语篇和文本, 但其中的参数只局限于语域层面, 而且彼此之间还有不少重合的, 比如“社会角色关系”和“社会关系”体现的都是交际者之间的关系, 其实可以进行修改和合并。参数的设置不合理影响可操作性, 使得模式应用时过于复杂。
同时, 还有不少影响翻译的因素并没有考虑在内, 如译语文化、翻译动机、译文用途、译文读者等。仅仅对翻译的结果做静态的分析对比, 容易陷入从文本到文本的封闭性的机械批评模式, 使翻译批评显得单调乏力。例如, 译文与原文的不匹配是否就是翻译中的错误, 它也可能是因为翻译策略的不同导致的。