0810 2013 六

早上7點15起近一點睡或許沒運動又熱.


在洗手間啟示

回東海談點翻譯

依據我們的計畫，2013年11月2日頒獎和開會的日子，我們選擇回東海大學。對我們而言，這校園的故事很多，譬如說70年代初的孟祥森先生就住在東海別墅，因為當時他最喜歡享受大學城的風味。

在我的成長過程中，受惠於大譯家兼散文家孟祥森﹙孟東籬，1937--2009﹚的譯作很多。我在前幾年2010年的《系統與變異》一書中，還特別感謝他寫東海大學銘賢堂前小楓樹的深情。

要重新向他學習的方式有很多，譬如說他早期的翻譯，或許還有許多不夠清楚的地方，但從翻譯的脈絡下多少可猜出意思的情況；我們這些後代比較幸運些，譬如說有更多的翻譯道具，如網路上的辭典等等可參考。

舉幾個例，Walter Lowrie《齊克果：一生的故事》(A Short life of Kierkegaard )台北: 台灣商務印書館， 1967/1970 5版，頁86：

｢齊克果相信自己是『異常情欲的』。這句話必須加一撮鹽；……｣

加一撮鹽就是誇大其事：take something with a pinch (or grain) of salt

regard something as exaggerated; believe only part of something:I take anything he says with a large pinch of salt

同樣，頁87的1845年日記：

｢…..對一個孩子說『折斷了腿』就是一項罪惡 (括號是我加的) ，這個孩子將在如何焦慮的憂懼中生活呢？……｣ 讀者或許可猜『折斷了腿』可能指自慰等事情，現在我們拜網路之賜，查出『折斷了腿』可能是get one's leg over

 而在英國俗語指的就是發生性關係 ( British vulgar slang (of a man) have sexual intercourse)。

幸虧這本A Short Life of Kierkegaard 在Google Books 有 所以我們也可以找出孟祥森先生的一些翻譯上的小缺點

頁87的2段日記則須加注或翻譯得更清處

The poet must have what the Hyperboreans expected in their heaven 這｢海帕波爾人｣最好加注是古希臘神話的烏何有之鄉的人---齊克果醉酒的夣境

One blows one’s brains out bing, bang, bover then

  這｢打出自己的腦漿｣指的是｢舉槍自盡｣

blow someone's brains out

Sl. to kill someone with a gun. Careful with that gun, or you'll blow your brains out. Max was so depressed that he wanted to blow out his brains.

 

晨怡昨去深坑送筍子 豆腐

說真話是記者的天責. 真無所謂好或壞. 謝謝記者.

下午仍就讀齊刻果. 翻譯水平不一 有些表達很不好有些似乎用錄音很通順不知道如何全面考量一本書.
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2013.9.21

九二一的聯想，但與地震無關

1）今天（2013/9/21）週六，氣象局說有颱風「天兔」過境南台的警報，但是台中無風且無雨，還是居家不外出，下午無所事事地看了 HBO 播出的《Hugo》（雨果的歷險）。電影傳達一項訊息，築夢最美，縱然成就可能遺忘於當代，但卻不會湮沒於後世他人的記憶。

記憶是奇妙的戲法，時來時去地穿梭時空。但記憶可能磨滅，一如循軌錯誤，不復讀取片段。人腦記憶也一如硬碟循軌，終究難免還是會出錯或失常，對於時時刻刻在發生的事件無法更新，也就是無法將短程記憶轉成長程記憶，一旦有這毛病，或許就步入了「失憶」。

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Hugo
2011 Film
7.6/10-IMDb
94%-Rotten Tomatoes
Hugo is a 2011 3D historical adventure drama film based on Brian Selznick's novel The Invention of Hugo Cabret about a boy who lives alone in the Gare Montparnasse railway station in Paris. Wikipedia

Hugo – review

Martin Scorsese leaves his mean streets behind for this exhilarating family tale inspired by the birth of cinema

• 
• • Philip French
  • The Observer, Sunday 4 December 2011

Asa Butterfield as the eponymous 'crafty Dickensian orphan' in Hugo.

The families we most associate with Martin Scorsese are the five criminal ones that make up the mafia in the United States, and both they and Scorsese's films deal in violence involving pain and death. His new film, however, aims to entrance every member of every family, and it centres on the great art form that over the past century became the great family entertainment: the cinema. A dramatic pursuit many see as essentially violent and once described by the art theorist Herbert Read as "a chisel of light cutting into the reality of objects", it is created with a demand for "Action!" and ends with the order "Cut!". Based on The Invention of Hugo Cabret, a beautiful book, half graphic novel, half prose tale, by Brian Selznick, the movie is a delightful fable. Its various subjects include magic, tradition, respect for the past and affection between generations, all bound up in the history of the cinema and the machinery invented to capture images on strips of film and project them on screens.

1. Hugo
2. Production year: 2011
3. Countries: France, USA
4. Cert (UK): U
5. Runtime: 126 mins
6. Directors: Martin Scorsese
7. Cast: Asa Butterfield, Ben Kingsley, Chloe Grace Moretz, Chloe Moretz, Christopher Lee, Emily Mortimer, Frances de la Tour, Helen McCrory, Jude Law, Ray Winstone, Richard Griffiths, Sacha Baron Cohen, Sir Ben Kingsley
8. More on this film

Hugo is set in Paris in 1931 and begins with a breathtaking shot of the city, as the camera swoops down on to a busy railway station. It flies along a narrow platform between two steam trains, crosses a busy concourse and ends up on the 12-year-old Hugo, who is peering at the world from behind the figure "4" of a giant clock. Hugo (Asa Butterfield) has inherited a love of tinkering with machinery from his late father, and has quite recently taken over the job of superintending the station's clocks from his drunken uncle. The boy lives in the hidden tunnels and passageways of the building, where he's repairing a 19th-century automaton. He's a crafty Dickensian orphan, a benign phantom of the opera, a blood brother of Quasimodo, a cinematic voyeur looking out on the world like the photographer in Hitchcock's Rear Window. Fate has brought him there, and it then draws him into the orbit of a querulous old man, Georges (Ben Kingsley), who runs an old-fashioned shop on the station selling toys and doing mechanical repairs, assisted by his 12-year-old god-daughter, Isabelle. Hugo becomes involved with the old man when he's accused of theft and has a cherished book of drawings confiscated. He is then assisted by Isabelle in retrieving the book, and in turn, when he discovers she's forbidden to go to the movies, he takes her on a great "adventure", a visit to the lost world of silent movies at a season of old films. She is overwhelmed.
The literate Isabelle is a great admirer of Dickens, and a succession of clever Dickensian twists ensue as the labyrinthine plot takes the pair on a journey into a mysterious past. They discover the origins of the movies in the late-19th-century careers of the Lumière brothers, who put on the first picture show in Paris in 1895, and Georges Méliès, the professional magician, who became obsessed after attending this historical screening. The Lumières photographed the world as it was and didn't believe the cinema had a future. Méliès turned his theatre into a picture palace, built his own studio and became a prolific producer of fantasy films that merged life and dream, before his business tragically collapsed and he disappeared into obscurity.