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Theory and Practice in Language Studies Contents - Academy ...

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946 THEORY AND PRACTICE IN LANGUAGE STUDIESmean<strong>in</strong>g <strong>and</strong> covert mean<strong>in</strong>g. Only by activat<strong>in</strong>g covert mean<strong>in</strong>g <strong>in</strong> specific situational use of language can we reachcommunicative aims of the orig<strong>in</strong>al text. Based on the analysis of contextual assumption discussed before, we know thatthe lack of contextual assumption result from that of necessary knowledge, such as foreign exotic word. The follow<strong>in</strong>gtext is a typical example.e.g.1Source Text: 老 人 接 着 又 说 :" 你 造 的 „ 重 ‟ 字 , 是 说 有 千 里 之 远 , 应 该 念 „ 出 远 门 ‟ 的 „ 出 ‟ 字 , 而 你 却 教 人 念 成 „ 重量 ‟ 的 „ 重 ‟ 字 。 反 过 来 ,„ 出 ‟ 字 本 该 为 „ 重 量 ‟ 的 „ 重 ‟ 字 , 你 倒 教 成 了 „ 出 远 门 ‟ 的 „ 出 ‟ 字 "( 仓 颉 造 字 )Translated Text: The old man cont<strong>in</strong>ued: "You made the character for 'Heavy'. It was the character 千 with 里 jo<strong>in</strong>edtogether, mean<strong>in</strong>g a great distance 重 , yet you make it sound like <strong>and</strong> mean 'weight'. ' 出 ' was supposed to mean 'heavy'(one mounta<strong>in</strong> heaped on another), yet the character reads like <strong>and</strong> means 'leav<strong>in</strong>g home'. These two characters are soconfus<strong>in</strong>g"(Cang Jie Creates the Words)For foreigners, Ch<strong>in</strong>ese characters are complex <strong>and</strong> difficult to underst<strong>and</strong>, let alone for foreign children. Theannotation <strong>in</strong> the translated version 'one mounta<strong>in</strong> heaped on another' explicitly expla<strong>in</strong> the covert mean<strong>in</strong>g of Ch<strong>in</strong>esecharacter 出 <strong>and</strong> creates a contextual assumption. Therefore, the relevance between orig<strong>in</strong>al text <strong>and</strong> contextualconsumption is well kept so that readers could well underst<strong>and</strong> its mean<strong>in</strong>g.B. Mak<strong>in</strong>g the Same Process<strong>in</strong>g Effort as Source ReadersContextual effect is not only related to the context, but also process<strong>in</strong>g efforts of the readers. Accord<strong>in</strong>g to Relevance<strong>Theory</strong>, the readers must make process<strong>in</strong>g efforts to get enough contextual efforts, which can be measured <strong>in</strong> two ways:The first is maximum relevance, which refers to gett<strong>in</strong>g greatest contextual effect with least process<strong>in</strong>g efforts. Whileoptimal relevance means tak<strong>in</strong>g more effort to get greater contextual effect. The second is tak<strong>in</strong>g no unnecessaryprocess<strong>in</strong>g effort, namely the effort taken by the readers must be worthy.Figure 1From figure 1, we can see that there are two types of contextual assumption. In the process of C-E translation, thetext should be seen as a proposition. If all the conventional translation strategies are regarded as the stimulation ofcontextual assumption 1, then the recommended pr<strong>in</strong>ciples <strong>in</strong> section 4.2 should be seen as contextual assumption 2 thatstimulates contextual effect 2 lead<strong>in</strong>g to optimal relevance.The translated language of children's literature is featured by accuracy, simplicity, vividness <strong>and</strong> rhyme. Translator ofCh<strong>in</strong>ese children's literature must take the same process<strong>in</strong>g effort as children so that the foreign readers can get similarcontextual effects. Therefore, the translated text should also preserve the style of Ch<strong>in</strong>ese language.C. Application of Relevance <strong>Theory</strong> on Phonetic LevelThe phonetic features of Ch<strong>in</strong>ese children's literature are embodied <strong>in</strong> onomatopoeia, rhyme, alliteration <strong>and</strong> the like.Ch<strong>in</strong>ese children are more likely to accept it, but orig<strong>in</strong>al text is a foreign language to the foreign readers without thatstrong language sense. In order to preserve the phonetic features, translators shouldn't neglect but restore them <strong>in</strong> itstranslation with scientific method.1. Rhythm <strong>and</strong> RhymeChildren usually pay attentions to rhyme <strong>and</strong> rhythm at first when read<strong>in</strong>g books. In many cases, stories are readaloud by children or told by their parents. Thus the sense of hear<strong>in</strong>g also plays an important role <strong>in</strong> gett<strong>in</strong>g contextualeffect. Rhyme <strong>and</strong> rhythm <strong>in</strong> children's literature would amuse children <strong>in</strong> underst<strong>and</strong><strong>in</strong>g the content. Rhyme is arepetition of arrangement of some vowels <strong>and</strong> consonants at the end of l<strong>in</strong>es, or sometimes <strong>in</strong> the middle. Rhythmicsounds are easy to draw children's attention. Therefore, translators of children's literature should take it <strong>in</strong>to account <strong>and</strong>reach the maximum effect.e.g.2各 种 猛 兽 、 恶 禽 纷 纷 窜 出 来 危 害 人 类 。( 女 娲 造 人 与 补 天 )All k<strong>in</strong>ds of wild beasts <strong>and</strong> wicked birds ran about <strong>in</strong> abundance to harm people. (Nv Wa Creates the World)e.g.3她 一 刻 不 停 地 从 她 住 的 发 鸠 山 上 衔 了 一 粒 小 石 子 , 或 是 一 段 小 树 枝 , 展 翅 高 飞 , 一 直 飞 到 东 海 。( 精 卫 填 海 )T The little brave bird cont<strong>in</strong>ued her work, day after day <strong>and</strong> year <strong>in</strong> year out, carry<strong>in</strong>g <strong>and</strong> dropp<strong>in</strong>g twigs <strong>and</strong> stones© 2013 ACADEMY PUBLISHER

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