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1、The North American Translation Workshop (北美翻译培训派)1. The Developments of the North American Translation Workshop (P5-6)In the early sixties, there were no translation workshops at institution of higher learning in the United States. In 1964 Engle hired a full-time director for what was the first tran
2、slation workshop in the United States and began offering academic credit for literary translations. The following year the Ford Foundation conferred a 150,000 grant on the University of Texas at Austin toward the establishment of the National Translation Center. Also in 1965,the first issue of Moder
3、n Poetry in Translation, edited by Ted Hughes and Daniel Weissbort, was published, providing literary translators a place for their creative work. In 1968, the National Translation Center published the first issue of Delos, a journal devoted to the history as well as the aesthetics of translation. L
4、iterary translation had established a place, albeit a small one, in the production of American culture. The process of growth and acceptance continued in the seventies. Soon translation courses and workshops were being offered at several universities-Yale, Princeton, Columbia, Iowa, Texas, and State
5、 University of New York, Binghamton among them. This led to the establishment of the professional organization American Literary Translators Association (ALTA) in the late seventies as well as the founding of the journal Translation for that organization. For a while in the late seventies and early
6、eighties, it looked as if the translation workshop would follow the path of creative writing, also considered at one time a non-academic field, and soon be offered at as many schools as had writing workshops.2. The translation workshop premise and Jonas Zdanys (P7-8)Johas Zda nys (Yale translation w
7、orkshop): tra nslati on can make the stude nt more aware of aspects of poetry, la ng uage, aesthetics and in terpretati on. The atheoretical premises of those practicing and teaching translation are revealed in the numerous prefaces and introductions to texts containing translations. An essay by Jon
8、as Zdanys of the Yale translation workshop illustrates the problem. In Teaching Translation: Some Notes Toward a Course Structure, Zdanys talks about his initial ambivalence about teaching literary translation because he feels this creative process cannot be taught. He then overcomes his reluctance
9、and agrees to do so. The article concludes with Zdanys changing his mind about the inappropriateness of teaching translation, arguing instead that the art of translation not only can be taught, but also can make the student more aware of aspects of poetry, language, aesthetics, and interpretation.Zd
10、anys clearly finds tra nslati on a subjective activity, subsu ming tra nslati on un der the larger goal of int erpreting literature. His argument that the study of translation can lead to a qualitative richer underst anding reveals the huma ni stic age nda.3. I. A. Richards and New CriticismNew Crit
11、icism was a dominant trend in English and American literary criticism of the mid twentieth cen tury, from the 1920s to the early 1960s. Its adhere nts were emphatic in their advocacy of close reading and attention to texts themselves, and their rejection of criticism based on extra-textual sources,
12、especially biography.Richards is a critic, linguist, poet, founder of New Criticism. He is often labeled as the father of the New Criticism, largely because of the influence of his first two books of critical theory, The Principles of Literary Criticism and Practical Criticism.Richardss Practical Cr
13、iticism is one text which best exemplifies the theory of the practice-oriented workshop approach to translation. Richardss first reading workshop took place at Harvard in the late 1920s.Richards did a famous experiment with an approach that cut both the students and the text off from society. Richar
14、ds hoped to in troduce new docume ntatio n support ing his aesthetic beliefs: that a unified“meaning” exists and can be discerned and that a unified evaluative system exists by which the reader can judge the value of that “meaning”.Richardss aims were threefold: (1) to in troduce a new ki nd of docu
15、me ntati on into con temporary America n culture; (2) to provide a new tech nique for in dividuals to discover for themselves what they think about poetry; (3) to discover new educational methods.How does Richardss reading workshop of the twenties related to todays translation workshop? P9 Both in t
16、roduce new docume ntati on into the culture, +P10,11,14Richards proved a difficult model for the New Critics, but his model of close reading provided the basis for their interpretive methodology. Although Richards derived his power from language, he seems not to have understood the very entity from which his power came. If the North American translation workshop has shown anything, it is that the translated text seems to have a life of its own, responding not
