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TYPES AND METHODS OF T ... TYPES AND METHODS OF TRANSLATION The question whether a translation should be literal or free is as old as translation itself.The argument in favour of the

Mar 16, 2020

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  • TYPES AND METHODS OF TRANSLATION

    The question whether a translation should be literal or free is as old as translation itself. The

    argument in favour of the spirit and sense as against the letter or the word has been going on

    at least from the beginning of the first century B.C. The view that translation was

    imp ossible gained popularity when the cultural anthropologists suggested that languaue

    was culture bound. Walter Benjamin and Valdimir Nabokov who were considered the

    'literalists' concluded that a translation must be as literal as possible. But in their argument

    the purpose of translation, the nature of readership, the type of text were not discussed.

    Though several methods have been suggested for translation it is quite evident that a

    substantially good translation can not be produced by holding fast to any one of those

    methods. During the process of translation, depending on the type of the source language

    text, the translator resorts to the combination of these different methods,

    Some of the methods mentioned by Peter Newmark, in his 'A Textbook ofi'Fanslalion ' are

    given below:

    Word-for-word 'kPnslation :

    This is often demonstrated as interlinear translation, with the target language immediately

    the source language words. The source language word order is preserved and the words

    translated singly by their most common meanings, out of context. Cultural words are

    translated literally. The main use of word-for-word translation is either to understand the

    mechanics of the source language or to construe a difficult text as presentation process.

  • The mood also comes in the cohesive level. The nouns and the adjectives used throughout

    the text make a cohesion, The cohesion of such foregrounded elements gives the mood-

    positive or negative or neutral. The choice between words like pass away, and dead indi-

    cates the value of the person. This subtle difference in choice will make a translation good

    or bad.

    After passing through all these minute details in the cohesive level, the level of naturalness

    has to be ensured. We must ensure whether the translation makes sense and if it reads natu-

    rally. This can be made out by disengaging ourselves from the source text, by reading the

    translation as though no original text existed. The naturalness has to be acquired by using

    most frequent syntactic structures, idioms and phrases and words that are likely to appear in

    that kind of stylistic context.

    The heart of tramlation theory is translation problem and the translation theory broadly

    consists of a large number of generalities of translation problem. So, the translation prob-

    lems shall be studies in the next chapter.

  • Literal trrmlatlon :

    The source language grammatical constructions are converted to their nearest target

    language equivalents but the lexical words are again translated singly, out of context. As a

    re-translation process, this indicates the problems to be solved.

    Faithful translation :

    A f a i W translation attempts to reproduce the precise contextual meaning of the original

    within the constraints of the target language grammatical structures. It 'transfers' cultural

    words and preserves the degree of grammatical and lexical 'abnormality' (deviation from

    the source language norms) in the translation. It attempts to be completely faithful to the

    intentions and the text realization of the source language writer.

    Semantic translation :

    Semantic translation differs fkom 'faithful translation' only in as far as it must take more

    account of the aesthetic value of the source language text, compromising on the 'meaning'

    where appropriate so that no assonance, word-play or repetition jars in the finished version.

    Further, it may translate less important cultural words by culturally neutral third or

    functional terms but not by cultural equivalents. It may make other small concessions to the

    readership. The distinction between 'faithful' and 'semantic' translation is that the first is

    uncompromising and dogmatic, while the second is more flexible admits the creative

    exception to 100% fidelity and allows for the translator's intuitive empathy with the

    original,

    Adaptatton :

    This is the 'hest ' form of translation. It is used mainly for plays (comedies) and poetry; the

  • themes, characters and plots arc usually preserved, the source language culture converted to

    the target language culture and the text is rewritten. The deplorable practice of having a play

    or a poem literally translated and then rewritten by an established dramatist or poet has

    produced many poor adaptations, but other adaptations have 'rescued' period plays,

    Free trmrlation :

    Free translation produces the matter without the manner, or the content without the fonn of

    the original. Usually it is a paraphrase much longer than the original. A so called 'intralingual

    translation', often prolix and pretentious, and not translation at all.

    Idiomatic tranrlatlon :

    Idiomatic translation reproduces the 'message' of the original but tends to distort nuances

    of meaning by preferring colloquialisms and idioms where these do not exist in the original.

    Commudcatlve tranrlatlon :

    Communicative translation attempts to render the exact contextual meaning of the original

    in such a way that both content and language are readily acceptable and comprehensible to

    the reader.

    There arc other methods of translation also. Service translation is a translation from one's

    language of habitual use into another language. The term is not widely wed but as the

    practice is necessary in most countries, a term is required.

    Plain prose translation of poems and poetic drama initiated by E.V.Rieu for Penguin books.

    Usually staazas become paragraphs, prose punctuation is introduced, original metaphors

    and s o w laguage culture is retained, whilst no sound effects are reproduced. The reader

  • can appreciate the sense of the work without experiencing quivdent effect. Plain prose

    translation is often published in parallel with its oriyil~al to which, after a carehl word-for-

    word comparison, they provide ready and full access.

    Information translation. This conveys all the information in a non-literary text some times

    reammged in a more logical fonn of a paraphrase.

    Congnitive translation reproduces the information in a source language text converting the

    source language grammar to its normal target language transpositions, normally reducing

    any figurative to literal language.

    Academic translation. This type of translation, practised in some British Universities, re-

    duces an original text to an 'elegant' idiomatic educated target language version which

    follows a literary register. It irons out the expressiveness of a writer with modish colloquial-

    isms.

    Literal translation is the first step in translation, and a good translator abandons a literal

    version only when it is plainly inexact or, in the case of a vocative or informative text, badly

    written. A good translator will always do his best to avoid translating word for word. Rec-

    reative translation is translating the thought behind the words, sometimes between the words,

    or translating the sub-text, is a procedure which some translation teachers regard as the

    heart of the central issue of translation. But the truth is the opposite. Interpret the sense, not

    the words.

    J.C.Ca$ord defines some broad types of translation in t e r n of the extent, level and rank of

    translation. *

    A linguisrlc Theory of 7PansIation. (An assay in applied Linguistics) 0. U. P Orfrd 1965

  • Full va ~artial translation.

    This distinction relates to the extent, in a syntagmatic sense, of source language text which

    is submitted to the translation process. By text we tilean any stretch of language, spoken or

    written, which is under discussion. According to the circumstances a text may thus be a

    whole library of books, a single volume, a chapter, a paragraph, a sentence, a cause.... Etc. It

    may also be a fragment not coextensive with any formal literary or linguistic unit.

    In a full translation the entire text is submitted to the translation process; that is, every part

    of the source language text is replaced by target language text material.

    In a partial translation, some part or parts of the source language text are lefi untranslated;

    they are simply transferred to and incorporated in the target language text.

    In literary translation it is not uncommon for some source language lexical items to be

    treated in this way, either because they are regarded as 'Untranslatable' or for the deliberate

    purpose of introducing 'local colour' into the target language text. This process of

    transferring source language lexical items into a target language text is more complex than

    appears at first sight, and it is only approximately tnrc to say that they remain 'untranslated'.

    The distinction between 1 1 1 and partial translation is hardly a (linguistically) technical one.