Moreover, this process of change affects the area of text types. Certain genres are linked to a particular period (e.g. oracles and epic poems as opposed to weather reports and television plays), and, of course, genre conventions also undergo change. Depending on the age of the text, the receiver/translator may have totally different expectations as to the typical features of the text type in question. S/he may even expect obsolete forms that are not used any more.

Example

Being asked what they thought to be the typical syntactic feature of a German recipe, the majority of competent native speakers of German mention the subjunctive of the present tense: "Man nehme...", whereas modern German recipes are written exclusively in infinitive constructions. Today, the subjunctive is used only to give a recipe an old-fashioned touch, as if it was from Grandmother s Recipe Book.

In addition to the linguistic aspects, the dimension of time can throw some light on the communicative background of the sender and the addressed audience, and thus provide a clue to understanding the sender's intention. In the case of text types of topical interest, such as news items and news reports, political commentaries, election speeches, weather reports, etc., the dimension of time can be the decisive criterion as to whether there is any point in a text being translated at all, or, if there is, under which circumstances and with which skopos it may be worthwhile.

In connection with the dimension of space, deictic elements refer directly to the situation. Like spatial deixis, temporal deixis can only be interpreted correctly if the receiver knows the time of text production.

Example

In the International Herald Tribune of January 9, 1990, we find the following notice: "NEW YORK - The hopes entertained that the grippe was relaxing have been destroyed by the mortality returns of yesterday (Jan. 7), which show an increase of nearly 100 over the toll given three days ago, with 134 deaths traceable to the epidemic." No need to be alarmed: the notice is to be found under the heading "100, 75 and 50 years ago", and dates from 1890.

However, it may also be necessary to know the genre conventions in this respect, as the following example shows.

Example

In Madras, I was surprised to read in the morning paper lying on my breakfast table that "there was a train crash this afternoon". Of course, the text had probably been written late at night, and the author was quite right to say "this afternoon" - but in a German newspaper (and normally in British and American papers as well) the author would have written yesterday afternoon because it seems to be a convention here for newspaper writers to imagine themselves in the situation of the reader who receives the text the next morning, whereas obviously the Indian readers are expected to put themselves in the writer's shoes.

Sometimes it may be wise for the translator to check on the validity of the information given in the source text (if possible) or at least to point out to the initiator that some information in the text may not be up to date.

Example

In some tourist information leaflets, the information on opening hours, prices etc. or warnings such as "is being repaired" (cf. example 3.1.4./2a) are not up to date. For example, the latest (translated) published information on the famous Altamira caves in Northern Spain specifies that the caves can be visited by anybody "on request". When I went there to have a look at the prehistoric paintings, I found out that there was a pavilion with beautiful reproductions of the paintings - but the caves had not been open to the public for the past few years. Only persons presenting proof of a particular research project were allowed to enter.

The dimension of time influences directly or indirectly the dimensions of sender (e.g.: Is s/he a contemporary of the receiver/translator or not? What situational presuppositions can be made?), intention, audience (expectations, temporal distance between ST and TT addressees), medium (historical or modern forms of medium), motive (e.g. topicality), and, above all, intratextual features (e.g. presuppositions, historical language variety, deictic elements).

The traditions and conventions of translation

The dimension of time encompasses not only the time of ST production and reception but also that of TT production (= translation) and reception. The original communicative situation as well as the inter-cultural communicative situation are determined by their respective temporal contexts.

In connection with the dimension of time, we must therefore look at the traditional translations of classical texts and consider the problems involved in translating or re-translating old texts. Whether and how the dimension of time has to be taken into account for the translation of, say, Homer's Iliad, Shakespeare's King Lear, or Cervantes' Don Quixote depends on the translation skopos. Popovic ([1977]1981: 103f.) distinguishes between the "synchronous translation" of a contemporary author and modern translations of older texts, which in his opinion can be either "re-creative" (i.e. actualizing) or "conservative" (i.e. historicising).

Which approach is regarded as the "correct" one depends on the prevailing translation tradition or concept, which may be regarded as a kind of culture-specific convention.

How to obtain information on the dimension of time

Information on the dimension of time can sometimes be inferred from the date of publication of the text or other clues from the text environment, although this is not always reliable, as texts are often published years after they have been written. However, they cannot be published text type, it will be mainly the following intratextual features that are determined by the motive of communication: content (insofar as the motive is explicitly mentioned in the text), vocabulary and sentence structure (e.g. in a memorial address), suprasegmental features (memorial address vs. election speech), and non-verbal elements (e.g. black edging round a death announcement).

How to obtain information about the motive for communication

Although the motive for communication is closely linked with the dimension of time, the two factors must not be confused. While the dimension of time is part of the communicative situation (in the narrower sense), the dimension of motive relates the communicative situation and the participants to an event that is outside, or rather prior to, the situation.

It is not always easy therefore (and not always relevant to translation!) to find out which event has motivated a certain text. Sometimes the motive is referred to in the text or mentioned in the text environment (e.g. in the title: To Honor Roman Jakobson on the Occasion of his 70th Birthda); but there are communicative situations in which the motive is only an indirect reason for the author to deal with a loosely connected subject.

Example

On March 12th, 1984, the Spanish daily paper El Pais published a commentary under the title "El Dfa de la Mujer" (International Women's Day). It is the motive for text production this title alludes to and not the subject matter, because the text deals with the situation of working women in Spain in 1984. The newspaper reader was expected to be familiar with the occasion, International Women's Day, since it had been commented on quite frequently at the time. If the text is to be translated, it is the motive for translation (as well as the dimensions of time and place) that has to be taken into account. Only a few days later the date will have been pushed into the background by other events, and a title like "International Women's Day" will arouse specific expectations about the subject matter, which the text cannot meet.

As is illustrated by the example, the dimension of motive is of as much interest to the translator as that of time, because s/he has to contrast the motive for ST production with the motive for TT production and find out the impact this contrast has on the transfer decisions. While the motive for ST production is often to be found in the "environment" of the sender or text producer, the motive for TT production can be inferred from what is known about the transfer situation, i.e. the initiator and the translation brief. The effect of the motive on intra-textual features - as opposed to that of the dimension of time - is often merely an indirect one.

We can restate that the clues as to the motive or motive type are to be inferred from certain situational factors, such as medium (e.g. political section of a newspaper), place and time (in connection with the receiver's general background knowledge), and, of course, text function, if this is specified by unambiguous pre-signals, such as genre designations (e.g. "protocol") or text-type features (e.g. black edging). The information obtained on the sender and the intention usually permits only indirect conclusions as to the motive for communication.

Checklist

The following questions may help to find out the relevant information about the motive for communication:

Why was the text written or transmitted? Is there any information on the motive of communication to be found in the text environment? Is the ST receiver expected to be familiar with the motive?

Was the text written for a special occasion? Is the text intended to be read or heard more than once or regularly?

What clues as to the motive for communication can be inferred from other extratextual dimensions (sender, intention, receiver, medium, place, time, function)?

What conclusions can be drawn from the data and clues obtained about the motive for communication as regards

other extratextual factors (expectations of the receiver, sender and intention), and

the intratextual features?

5. What problems can arise from the difference between the motive for ST production and the motive for translation?

Text function

The relationship between text function and genre

Let me briefly restate that the notion of text function means the communicative function, or the combination of communicative functions, which a text fulfils in its concrete situation of production/reception. It is derived from the specific configuration of extratextual factors (sender/sender's role, intention, receiver/receiver's expectation, medium, place, time, and motive). The notion of text function is related to the situational aspect of communication, whereas the notion of genre is related to the structural aspect of the text-in-function. It is like looking at the two sides of a coin: they cannot be separated, but they are not the identical.

As was pointed out above, text can be classified on various levels of generalization. It is therefore not surprising that some authors specify text types as "newspaper reports", "sermons", or "resolutions", while others prefer a more general categorisation into "informative", "expressive", or "operative" texts.

Literariness as a text function

The notion of text function as a particular configuration of situational factors can be illustrated by the special function of literary texts. The senders of a literary text are usually individual authors who are also text producers and who in the literary context are known as "writers". Their intention is not to describe "reality", but to motivate personal insights about reality by describing an (alternative) fictitious world. Literary texts are primarily addressed to receivers who have a specific expectation determined by their literary experience, and a certain command of the literary code. As a rule, literary texts are transmitted in writing (= medium), although sometimes orally transmitted texts (such as fairy tales) are included in literature as well. The situational factors (place, time, motive) may not be of great significance in intracultural literary communication but they do play an important part in literary translation because they convey the culture-specific characteristics of both the source and the target situation.

The importance of ST function for translation

The basic principle of functionalism in translation is the orientation towards the (prospective) function of the target text. Since I have argued that a change of function is the normal case, and the preservation of function the special case in the process of intercultural text transfer.

If a translation is an offer of information about the source text, there can be two fundamental kinds of relationship between source and target text. Here again we find the two translation theories which have split translation scholars into two camps: the supporters of liberty and the adherents to fidelity. The target text can be (a) a document of a past communicative action in which an SC sender made an offer of information to an SC receiver by means of the source text, and (b) an instrument in a new TC communicative action, in which a TC receiver receives an offer of information for which the ST provides the material. Accordingly, we can distinguish between two translation "types": documentary and instrumental translation.

Documentary translations (such as word-for-word translation, literal translation) serve as a document of an SC communication between the author and the ST receiver, whereas the instrumental translation is a communicative instrument in its own right, conveying a message directly from the ST author to the TT receiver. An instrumental translation can have the same or a similar or analogous function as the ST.

In a documentary translation, certain aspects of the ST or the whole ST-in-situation are reproduced for the TT receivers, who is conscious of "observing" a communicative situation of which they are not a part. A documentary translation can focus on any of the features on each rank of the source text, pushing others into the background. In a word-for-word translation, for example, which aims to reproduce the features of the source language system, the focus is on the morphological, lexical, and syntactic structures presented in the source text, whereas textuality is bound to be neglected.

An instrumental translation, on the other hand, serves as an independent message-transmitting instrument in a new communicative action in TC, and is intended to fulfill its communicative purpose without the receiver being aware of reading or hearing a text which, in a different form, was used before in a different communicative action. This translation type comprises three forms. First, if the target text can fulfill the same function(s) as the source text, we speak of an "equi-functional" translation (used, for example, in the case of operating instructions or business correspondence). Second, if the ST functions cannot be realized as such by the TT receiver, they may be adapted by the translator, provided that the TT functions are compatible with the ST functions and do not offend against the sender's intention (e.g. the translation of Swift's Gulliver s Travels for children). This form is referred to as "heterofunctional translation". The third form is intended to achieve a similar effect by reproducing in the TC literary context the function the ST has in its own SC literary context. This form is often found in the translation of poetry.

Страницы: 1, 2, 3, 4, 5, 6, 7, 8, 9, 10