“翻译体”和“翻译腔”对国人思维的影响(2)
毕业论文关 键 词翻译腔；翻译体；争议；必然性；必要性；意义
CONTENTS
1. Introduction....1
2.Literature Review——A Historical Sight...........3
3.Cause of Translation Genre.................................................9
4.Argumentation for Translation Genre, but Against Translationese............................12
5. Conclusion.16
Bibliography..18
Acknowledgements...20
Translationese? Translation Genre?That’s a Question to be Reconsidered
1. Introduction
Translation style, i.e. the language after translation or the translation-like language in Chinese writing, has long been held as a subject of controversy in Chinese culture.
Outside the translation circle, language of this nature is taken as a style of writing which, just as Sun Ganglu （孙甘露）put it, “refers to Europeanized style in Chinese writing” （1997: 66）. As a matter of fact, translated text is so much a complex that Chinese people, especially men of letters, have developed a paradoxical feeling, a love-hate relationship with it. On the one hand, they accept the fact that translation has contributed so much to the development of Chinese so that Chinese has been greatly enriched for us to deliver the physical and mental world, while on the other hand, they are worrying that Chinese, affected greatly by translation, is declining into the language which would completely stray away from its tradition, the character of Chinese nationality, the container of Chinese culture. Mingled with a series of positions of removing Europeanization, safeguarding Europeanization, appropriating Europeanization, the argument for or against translation genre can be extended to the ideological dispute of colonization v. s nationalization.
Translation style has been not only the focus of contention for the literary world, but also the problem for the translation circle, but until now scholars from the two groups haven’t reached agreement in their interpretation because centering around the translated text quite a number of terms have been invented in Chinese literature, such as translationese (翻译腔) , translatorese （译者文体）, foreignized tone （洋腔洋调）, foreignized flavor（洋，外国）, Europeanization（欧化）, westernization（西化）, suggesting somewhat depreciative or appreciative evaluation toward the language of this nature.
Unfortunately, inside the translation circle we still remain confused and perplexed with these terms, and worse still, lump them all, berating them by illustrating its drawbacks, labeling it with translationese when some translated text reads unnatural, clumsy and unsmooth. Lin Tianhuang （林天煌） defines ‘translation genre’ as the language form which is neither Chinese nor a foreign language, neither ‘an ass nor a horse’, but awkward, incoherent, a text type which, though unpleasant to the eyes and ears of readers, is taken by some translators to be a fashion and model that should be copied with care.（杨普习、刘典忠、周小岩，2009）Liu Miqing （刘宓庆），famous translator and scholar, equals 翻译体 (translation genre) with English’ translationese’ and maintains that translationese, suggestive of pejorative sense, is caused by the mechanical translation methodology which would lead a translator, regardless of the differences of the two languages, to transfer mechanically superficial language structure of the original into the counterpart of target language. （危素红，2010）Sun Yingchun (孙迎春), in his Bilingual Terminology of Translation, renders the term 翻译体( translation genre) with translationese, and the ‘translationese’ with 翻译体，翻译腔，翻译术语. Likewise, Tan Zaixi （谭再喜），in his Dictionary of Translation Study, renders translationese into 翻译体, （杨普习、刘典忠、周小岩，2009）whereas translationese is usually associated with bad, undesired, unapproved translation, suggestive of translator’s incompetency both in comprehension of the original and expression with target language, thus translator, along with his translation is bound to be the target of criticism.
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