truncated class file翻译Literary translation
文学翻译
practices
实践
Literary translation is the work of literary translators. That is a truism which has to serve as a starting point for a description of literary translation, an original subjective activity at the centre of a complex network of social and cultural practices. The imaginative,intellectual and intuitive writing of the translator must not be lost to the disembodied abstraction which is often described as ‘translation’.
文学翻译是文学翻译者的工作。这一点作为描述文学翻译的起点，作为在社会和文化实践这一复杂网络中占据中心地位具有独创性和主观性活动，是不言而喻的。译者的想象力、心智及直觉一定不能脱离现实，这就是我们说的“翻译”。
Literary translators have to connive or contend with the well-established hierarchies in the definitions of what constitutes literature: poetry, drama and prose—usually in that order, of ‘high’ culture as opposed to ‘lower’ categories such as science fiction,children’s fiction and ‘pulp’ fiction. These hierarchies are reflected in general assumptions about both the relative worth and difficulty of translating the constituent sections of literary production. Such categorizations have been attacked by cultural theorists, post-modernists and some translation scholars who have pointed out how the construction of canons has been informed historically by value-judgements refracted through prejudices of class, gender, nation and race. These attacks have also undermined confidence in the author’s interpretation of what s/he has written in favour of the multiplicity of readings by readers: the kingly or queenly author has been dethroned and replaced by a fragmented realm of individual readers (Venuti 1992). The work of literary translators implicitly and sometimes explicitly challenges the authority of the canon, the nationalism of culture and the ‘death’ of the author.
文化是由诗歌，戏剧及散文构成，及通常来说，高雅文化是和如科幻小说，儿童小说和低俗
小说这类低级文化相对的，对于这两种层面的认识已经约定俗成，文学翻译者要么默认要么打破这些层面的认识。普遍观点认为，这些认识层面又反映在对文学翻译作品的价值与困难都是相对的。这种分类受到了文化理论者、后现代主义者及一些翻译学者的抨击，他们指出，从历史角度看，经典作品的构建是任何受到阶级、性别、民族及种族歧视等价值判断的影响。作者写作是赞同阅读多样性的：作者权威不在重要，取而代之的是个体读者碎片化理解，而这些抨击又同时打击了作者在这方面的信心。文学翻译者的工作含蓄或者明确地挑战了经典作品的权威，挑战了文化民族主义及作者死亡论。
A literary translator is bilingual and bicultural and thus inhabits a landscape which is
not mapped by conventional geographies; s/he is at home in the flux that is the reality of contemporary culture, where migration is constant across artificial political boundaries.In self-styled monolingual dominant cultures, as in the Anglo-Saxon varieties, that flux is often portrayed as a threatening, if not a pathological state of being. Literary translators are involved at a keen point of cultural convergence because they translate those works which, for whatever reason, are selected for translation and which now exist where otherwise ther
e would be silence. They often play a key role by suggesting works for translation or regularly writing readers’ reports for publishers on books sent by foreign authors or their agents. The eventual selection implies the work is representative—even if it is anticanonical—of a particular quintessential use of language and feeling in the source culture. It also implies that the publishers believe there is a market for that literary translation. By definition, nevertheless, any literary translation breaks the nationalist canon because, however assimilated by the translation and publishing process, it introduces into the reading space of non-readers of the source language a work that would otherwise remain an array of meaningless letters or symbols. As the creator of the new work in the target culture, the literary translator operates at the frontiers of language and culture, where identity is flux, irreducible to everyday nationalist tags of ‘Arab’,
‘English’ or ‘French’, or to foreign talk seen as irritating jabber.
文学翻译者必须具备双语及双文化能力，因此脑中要有一幅不受传统地理限制而绘制出的格局。文学翻译者处于当代文化的现实流动中，现实中，人们在认为划定的政治边界不断移民。
Literary translators also belong to a cash nexus of relationships and a tradition of social
practices within the publishing industry. A contract has to be signed, payment agreed, and
decisions about copyright and deadlines for delivery of the manuscript have to be
reached, usually in the course of the translator’s lone negotiations with a publisher.
Payment may be in the form of an advance on royalties. Usually, the originating author
accepts a royalty of 8 per cent that in principle leaves 2 per cent for the translator. For a
publisher who sees the translator as an added expense, a small payment may be made as
an advance on royalties or a flat fee worked out on the basis of a rate per thousand words.
Many literary translators argue for an advance based on the actual amount of time they
estimate the translation may take rather than such piece-work rates. Grants from
sponsoring Ministries of Culture or bodies such as the Arts Council in Britain or the
National Endowment for the Humanities in the United States are sometimes awarded to
publishers to defray the cost of translation (see PUBLISHING STRATEGIES). Contracts
usually include some line about ‘providing a language that is faithful to the original’ and
commit the translator to the correction of proofs.
These arrangements may differ from country to country. In countries with a buoyant
demand for translations, a publisher may have an in-house team of translators. Actes-Sud,
for example, in France, have a company where readers’ reports, the commissioning of
translations and translators, and the whole chain of production is run by literary
translators who are part of the professional administrative framework of the publishers
(Mattern 1994). In Britain and the United States, it is more likely that publishers will
work with freelance translators they know or will contract them on the basis of word-ofmouth recommendation (the ‘friend of a friend’), proof of previous work or by reference
to directories of literary translators.
Literary translators often do not have an agent, because agents are not interested in the
slender earnings to be gleaned from representing literary translators. There are
translators’ associations which will advise on contracts and legal help in disputes, but
characteristically they do not become involved in the actual negotiations over individual

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