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1TheNorthAmericanTranslationWorkshop（北美翻译培训派）1.TheDevelopmentsoftheNorthAmericanTranslationWorkshop(P5-6)Intheearlysixties,therewerenotranslationworkshopsatinstitutionofhigherlearningintheUnitedStates.In1964Englehiredafull-timedirectorforwhatwasthefirsttranslationworkshopintheUnitedStatesandbeganofferingacademiccreditforliterarytranslations.ThefollowingyeartheFordFoundationconferreda＄150,000grantontheUniversityofTexasatAustintowardtheestablishmentoftheNationalTranslationCenter.Alsoin1965,thefirstissueofModernPoetryinTranslation,editedbyTedHughesandDanielWeissbort,waspublished,providingliterarytranslatorsaplacefortheircreativework.In1968,theNationalTranslationCenterpublishedthefirstissueofDelos,ajournaldevotedtothehistoryaswellastheaestheticsoftranslation.Literarytranslationhadestablishedaplace,albeitasmallone,intheproductionofAmericanculture.Theprocessofgrowthandacceptancecontinuedintheseventies.Soontranslationcoursesandworkshopswerebeingofferedatseveraluniversities-Yale,Princeton,Columbia,Iowa,Texas,andStateUniversityofNewYork,Binghamtonamongthem.ThisledtotheestablishmentoftheprofessionalorganizationAmericanLiteraryTranslatorsAssociation(ALTA)inthelateseventiesaswellasthefoundingofthejournalTranslationforthatorganization.Forawhileinthelateseventiesandearlyeighties,itlookedasifthetranslationworkshopwouldfollowthepathofcreativewriting,alsoconsideredatonetimeanon-academicfield,andsoonbeofferedatasmanyschoolsashadwritingworkshops.2.ThetranslationworkshoppremiseandJonasZdanys(P7-8)JohasZdanys(Yaletranslationworkshop):translationcanmakethestudentmoreawareofaspectsofpoetry,language,aestheticsandinterpretation.Theatheoreticalpremisesofthosepracticingandteachingtranslationarerevealedinthenumerousprefacesandintroductionstotextscontainingtranslations.AnessaybyJonasZdanysoftheYaletranslationworkshopillustratestheproblem.InTeachingTranslation:SomeNotesTowardaCourseStructure,Zdanystalksabouthisinitialambivalenceaboutteachingliterarytranslationbecausehefeelsthiscreativeprocesscannotbetaught.Hethenovercomeshisreluctanceandagreestodoso.ThearticleconcludeswithZdanyschanginghismindabouttheinappropriatenessofteachingtranslation,arguinginsteadthattheartoftranslationnotonlycanbetaught,butalsocanmakethestudentmoreawareofaspectsofpoetry,language,aesthetics,andinterpretation.Zdanysclearlyfindstranslationasubjectiveactivity,subsumingtranslationunderthelargergoalofinterpretingliterature.Hisargumentthatthestudyoftranslationcanleadtoaqualitativericherunderstandingrevealsthehumanisticagenda.3.I.A.RichardsandNewCriticismNewCriticismwasadominanttrendinEnglishandAmericanliterarycriticismofthemidtwentiethcentury,fromthe1920stotheearly1960s.Itsadherentswereemphaticintheiradvocacyofclosereadingandattentiontotextsthemselves,andtheirrejectionofcriticismbasedonextra-textualsources,especiallybiography.Richardsisacritic,linguist,poet,founderofNewCriticism.HeisoftenlabeledasthefatheroftheNewCriticism,largelybecauseoftheinfluenceofhisfirsttwobooksofcriticaltheory,ThePrinciplesofLiteraryCriticismandPracticalCriticism.Richards’sPracticalCriticismisonetextwhichbestexemplifiesthetheoryofthepractice-orientedworkshopapproachtotranslation.Richards’sfirstreadingworkshoptookplaceatHarvardinthelate1920s.Richardsdidafamousexperimentwithanapproachthatcutboththestudentsandthetextoff2fromsociety.Richardshopedtointroducenewdocumentationsupportinghisaestheticbeliefs:thataunified“meaning”existsandcanbediscernedandthataunifiedevaluativesystemexistsbywhichthereadercanjudgethevalueofthat“meaning”.Richards’saimswerethreefold:(1)tointroduceanewkindofdocumentationintocontemporaryAmericanculture;(2)toprovideanewtechniqueforindividualstodiscoverforthemselveswhattheythinkaboutpoetry;(3)todiscoverneweducationalmethods.HowdoesRichards’sreadingworkshopofthetwentiesrelatedtotoday’stranslationworkshop?P9Bothintroducenewdocumentationintotheculture,+P10,11,14RichardsprovedadifficultmodelfortheNewCritics,buthismodelofclosereadingprovidedthebasisfortheirinterpretivemethodology.AlthoughRichardsderivedhispowerfromlanguage,heseemsnottohaveunderstoodtheveryentityfromwhichhispowercame.IftheNorthAmericantranslationworkshophasshownanything,itisthatthetranslatedtextseemstohavealifeofitsown,respondingnottotheinterpreter’ssetofrules,buttolawsthatareuniquetothemodeoftranslationitself.4.EzraPound:TheoryofluminousdetailsPoundisapoet,critic(1885-1972)Strictlyspeaking,pounddidn'tpublishanybookofhistranslationtheorybutbythepeoplewhoresearchedhisworksandthenmadeaconclusion.Poundreflectedhistranslationtheoryinhiswritingandtranslationpractice.Accordingtohim,thetheoryofpoemandthetheoryoftranslationaremutualcomplementation.Pound'stheoryoftranslationfocuseduponthepreciserenderingofdetails,ofindividualwords,andofsingleorevenfragmentedimages.Ratherthanthesingle,unifiedmeaningofthewholework.Pound'stheorywasbaseduponaconceptofenergyinlanguage.Thewordsonthepagewereseennotsimplyasblackandwhitetypedmarksonapagerepresentingsomethingelse,butassculptedimages.Thetranslatorwasseenasanartist,anengraver,oracalligraphe