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Abstract Translation style has long been held as a subject of controversy in Chinese culture, and up to now no agreement has reached on how to approach the problem for related to it there have emerged quite a number of terminology such as translationese (翻译腔) , translatorese （译者文体）, foreignized tone （洋腔洋调）, foreignized flavor（洋，外国）, Europeanization（欧化）, westernization（西化）, and worse still, translationese is always being confused with all the rest of terms, hence suggesting somewhat depreciation toward the language of this nature. In the study, two terms are adopted to develop the subject, translationese, which is usually associated with bad translation, and translation genre which is intended to cover all the rest terminology. In contrast with the pejorative ‘translationese’, the paper, by making a systematic study of the development, cause, and nature of translation genre, tries to argue for its inevitability, necessity sand contribution to the Chinese language evolution. The study consists of the following five parts. Part One presents the background of the subject, revealing its status-quo, pointing to the fact that ‘translationese’ has long been confused with ‘translation genre’ which, consequently, has been unjustifiably taken as the object of criticism in the previous studies and stating the reason for translation genre as argument and the hypothesis it is based on. Part Two presents a historical review and comment of the subject which tracks all the way from the Europeanized Chinese to the development of translation genre. The insightful narration is intended to serve the argument for translation genre. Part Three explores the cause of translation genre at the linguistic level, claiming that positive interference of the original is an ever-present factor resulting in the translation genre, and also the reason why even translators with solid Chinese foundation cannot fight back translation genre. Part Four starts with the contribution the translation genre has made to the development of Chinese language and literature, explains the nature of the language by illustrating some examples and contrasting with translationese. Part Five further develops translation genre and translationese, analyzing the reason why translation genre and translationese are being often confused with one another, concluding that translation genre, intertwined with many other Chinese genres, influence the way Chinese people think, speak and write. 26982
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Keywords Translationese; translation genre; controversy; inevitability; significance; nature
摘 要长期以来，“翻译文体”在汉语文化中是一个具有争议性的话题，到目前为止，怎样理解这一问题还未达成共识，因为围绕这一问题，出现了一大堆术语，如“翻译腔”、“译者文体”、“洋腔洋调”、“洋”、“欧化”、“西化”，更加糟糕的是，“翻译腔”常常与其他术语混用，由此，暗含了对这种语言的贬抑态度。本研究采用“翻译腔”与“翻译体”两个术来拓展这一课题的研究。前者通常与糟糕翻译联系在一起，意图使后者涵盖上述所有的其他术语。与贬义的 “翻译腔”区别开来，本文通过对翻译体的来龙去脉，成因和特性加以系统研究，论证它的必然性，必要性，对汉语演进的作用。本研究由以下五部分组成。第一部分呈现本课题的背景、现状，指出“翻译腔”与“翻译体”在先前的研究中长期被混淆的事实，因而“翻译体”蒙受了不白之冤，并陈述了“翻译体”作为本研究的缘由和理论假设；第二部分追溯了欧化文到翻译体的发展过程，希望其论述为“翻译体”提供有力的佐证；第三部分在语言学层面上探寻“翻译体”产生的原因，表明原文的正面干扰是导致翻译体的常因。此外还探讨了汉语功底深厚的译者不能避免翻译体的原因。第四部分首先描述了翻译体对汉语及其文学的贡献，通过举例并与“翻译腔”对比来解释其语言的特性；第五部分进一步论述了“翻译体”和“翻译腔”，分析了两者彼此混淆的原因。最后结论：翻译体与许多汉语文体互相交织，影响了中国人的思文，说话和写作方式。