Katharina Reiß and Hans J. Vermeer
171
etc.), (2) supra-cultural genres (or genre classes) which can be observed only
in certain cultures (such as sonnets, oratorios, passion plays and
ghazals), and
(3) language-specific genres (or genre classes) which are little known beyond
the confines of one culture (such as the
Noh play or the
haiku in Japan).
Secondly, we have to take into consideration that genre conventions are
further developed through history and may therefore change (which is relevant
for the translation of old and ancient texts), and that the conventions of one
genre (class) may be the same across cultures or differ in varying degrees
from one culture to another.
Genre conventions may even change to such an extent that what was char-
acteristic of one genre in the past may be now typical of another genre.
For example: today, we find rhymes in poetry only, whereas in the
Middle Ages, specialized texts were also presented in rhymes.
11.5.1 General considerations
From the discussion of these problems, we can draw some conclusions with re-
gard to how to deal with genre conventions in general and in specific cases.
Preliminary note: by ‘linguistic translation’ (as opposed to ‘communicative
translation’), we mean a translation of a source text into a target language
without a concomitant cultural transfer. A ‘linguistic translation’ is almost
always possible, even if the source text does not make sense.
At night, it is
colder than outside is an example of a nonsense sentence that can be translated
into any other language.
Do'stlaringiz bilan baham: