The news in newspapers is full of some zero-translated words. To be frank, they can be translated into Chinese characters. For example, “MTV” can be taken place of by“音乐电视”.We have to admit that the appearance of too many zero-translated words will certainly influence the purity of Chinese language.
2.Zero Translation will be bound to deluge English letters in Chinese language. Today,
some Chinese terms begin to be replaced by their English translation out of simplicity. For example,“CCTV-1”,“CCTV-2”,“CETV-1”are all TV channels in China. In the 1980’s,these names were written in Chinese characters“中央电视台”.But now, as the most prestigious mass media in China, they represent China’s power and image. Their leading role will bring about the imitation by the other mass media. How can we Chinese people understand this new phenomenon? “CCTV” and some local “TV” channel titles sound very foreign when they are expressed in the letters’ form. When they often make the audience puzzled. Is “HNTV” “海南电视台” or “河南电视台”. Another problem is that the aged man and woman are not so sensitive to the English letters that they cannot easily find the TV channels they want. All the TV channels imitate the “CCTV” and employ the English letters to mark their channels so that their Chinese names seem superfluous. We should be aware that all the Chinese TV channels are serving Chinese people instead of foreigners. A proper attention must be paid on its harmful influence over Chinese audience.
Conclusion
Translatability and untranslatability, as a contradictive pair, co-exist in a continuum. Like numerous contradictions, they are reciprocally opposite, one side existing on the basis of the side. Besides, they are in the process of switching to the reverse. The thesis argues that when translations are only required to perform cognitive and expressive function, untranslatability is shifting to translatability, but when translations are supposed to exert aesthetic and cultural functions, translatability is more or less switching to untranslatability. Besides, translation within homogeneous languages and cultures will confronted with less untranslatability than the translation between heterogeneous languages and cultures. As far as the translation effect is concerned, translations can be classified into three grades, which mirrors different communicative quality and effect, and diverse degrees of exerting the three language functions.
A. Superior Grade: (of the version) capable of conveying the source aesthetic and rhetoric beauty, including the source style and formal beauty.
B. Medium Grade: (of the version) besides conveying the implication, capable of adapting to contextual requirements, including basically reflecting the source stylistic gradation.
C. Basic Grade: (of the version) capable of performing the basic communicative function of transmitting information and content.
Different styles are provided with different degrees of untranslatability. In the generic sense, the approximate decreasing order of untranslatability regarding the following styles is like this: poetry, prose, novels, drama and applied styles. As components of poems, the poetic rhyme scheme and rhythm are untranslatable. So to speak, the higher the style is, the greater the untranslatability is. However, due to the limit of translatability or untranslatability, performing language functions is greatly influenced, which leaves most translated works in basic grade. How to overcome the barrier of untranslatability and pledge to make functional performance lie in the superior grade is a task lying before every translator.
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