跨文化翻译和不可翻译性：作为 Dhruv Bhatt 的 Akoopar 翻译的无限批判性研究

“文字可以跨越世界。翻译负责驾驶“，意大利翻译 Anna Rusconi 写道。（Qtd in O'Shea 90）无论是由拉丁语 trans（意为“穿越”）和 latus（大致意思是“带来”）组成的英语单词“翻译”，还是德语对应的 uber-setzen（意思是“将东西从河的一侧带到另一侧”）或梵语术语，
“言语跨越世界。翻译负责驾驶”，意大利翻译安娜·鲁斯科尼 (Anna Rusconi) 写道。 （O'Shea 90 中的 Qtd）英语单词“translation”由拉丁语 trans（意思是“跨越”）和 latus（大致意思是“带来”）组成，其德语对应词 uber-setzen（意思是“到”）将某物从河的一侧运到另一侧）或梵文术语，例如如“bhasantar”或“anuvad”，翻译，就其最基本的意义而言，通常被视为将源语言 （SL） 文本翻译成目标语言 （TL），以便以后者传达前者所说的。尽管如此，翻译的整个活动及其评价似乎在“忠诚”和“美”的偶极子之间摇摆不定：翻译可以是忠实的，也可以是美丽的，但正如他们所说，很少两者兼而有之。
“文字可以跨越世界。翻译负责驾驶”，意大利翻译 Anna Rusconi 写道。（Qtd in O'Shea 90）无论是由拉丁语 trans（意为“穿越”）和 latus（大致意思是“引入”）组成的英语单词“翻译”，还是德语的对应 uber-setzen（意思是“将东西从河的河流带到另一侧”）或梵语术语，如“bhasantar”或“anuvad”，翻译，就其传播的意义，通常被视为将源语言（SL）文本翻译成目标语言（TL），以便后来者传播先前的说法。 尽管如此，翻译的整个活动及其评价似乎在“忠诚” ”与“美”的偶极子之间的关系不定：翻译可以是忠实的，也可以是美丽的，但正如他们所说，很少两者兼而有之。

当翻译不仅仅是字面的，而且是文学的时，问题就变得很严重了。翻译不仅仅是两种语言的互动，而是两种文化之间的接口。一种语言中的单词本质上植根于该语言发源地的文化中。苏珊·巴斯内特 （Susan Bassnett） 评论道：“因此，语言是文化身体中的心脏......就像外科医生在心脏上手术时不能忽视它周围的身体一样，译者也要把文本与文化隔离开来，这是他自己面临的危险。（23） 从 1980 年代开始，翻译活动被视为在跨文化交流中发挥着重要作用;翻译不再仅仅被视为一种语言现象，而是一种文化现象。Rainer Schulte 写道：
当翻译不仅仅是字面的，而且是文学的时候，问题就变得非常严重了。翻译不仅仅是两种语言的交互，而是两种文化之间的接口。一种语言中的单词本质上植根于本国语言发源地的文化中。苏珊·巴斯内特（Susan Bassnett）评论道：“因此，语言是文化身体中的心脏……就像外科医生在心脏手术时一样不能忽视它周边的身体相同，译者也认为文本与文化隔离开来，这是他自己面临的危险。（23）从1980年代开始，翻译活动被视为在跨文化交流中发挥着重要作用;翻译不再被视为一种语言现象，而是一种文化现象。Rainer Schulte 写道：

作为翻译，我们总是参与将东西运过河，无论是从这里到那里，还是从那里到这里......我们知道翻译不是单词的翻译，即使我们翻译的最终产品以单词或句子的形式出现......因此，在我们的多元文化背景下，如果不同语言的人之间真的要进行真正的交流，翻译必须成为最不可或缺的中介。“（舒尔特，Schulte）
作为译者，我们总是要担负起搬运某样东西过河的任务，无论是从这里到那里，还是从那里到这里……我们知道，翻译不是文字的翻译，尽管我们翻译的最终产物出现在文本中。单词或句子的形式……因此，在我们的多元文化背景下，如果不同语言的人们之间确实要发生真正的交流，翻译人员必须成为最不可或缺的调解者。”（舒尔特）玛丽·斯内尔-霍恩比 （Mary Snell-Hornby） 将翻译称为“两种文化之间的互动”（Qtd in Jayaraju 220）。在这种情况下，翻译人员在翻译中肯定不仅面临语言问题，而且还面临文化问题。很多时候，它们更多的是文化而不是语言，因为源文化和目标文化之间缺乏直接的社会、人类学、心理和情感一一对应的关系。古吉拉特语作家 Dhruv Bhatt 的游记兼小说 Akoopar 也是如此，该小说已被
作为翻译，我们总是参与将东西运过河，无论是从这里到那里，还是从那里到这里……我们知道翻译的不是单词的最终翻译，即使我们翻译的以产品或句子的形式形式的出现……因此，在我们的多元文化背景下，如果不同语言的人之间真的要进行真正的交流，翻译必须成为最底层的内部。“（舒尔特，Schulte ）玛丽·斯内尔-霍恩比（Mary Snell-Hornby）将翻译称为“两种文化之间的互动”（Qtd in Jayaraju 220）。在这种情况下，翻译人员在翻译中肯定面临挑战语言问题，而且还面临文化问题。很多时候，它们更多的不是语言，因为源文化和目标文化之间缺乏直接的社会、人类学、心理和情感一一对应的关系。特语作家 Dhruv Bhatt 的游记兼小说 Akoopar 也是如此，该小说已被

Piyush Joshi 博士和 Suresh Gadhavi 博士，标题为 Akoopar：无限。

Akoopar 写于 2010 年，描述了一位城市画家兼主角的社会文化和审美经历，他碰巧参观了 Gir 森林的内部区域，并与当地居民一起度过了一个项目。正是在这里，他遇到了一个与他自己的世界完全不同的世界——谦逊、无私的乡下人过着与自然交织在一起并与自然完美同步的生活。他们称之为 Gayr 及其动植物群，以及 Saavaj（“狮子”的翻译并不完美），Gir 骄傲的象征——所有这些都被当地居民视为不逊色于人类，并且存在着强烈的相互情感依恋。主角对这一切着迷，当 Gir 逐渐向他揭开她的谜团时，他感到奇怪的宾至如归。作为一本高度具有文化特色的文本，Akoopar 肯定会对其翻译人员构成巨大挑战。本文试图分析这些挑战以及翻译人员如何应对这些挑战。
Akoopar 写于 2010 年，描述了一位城市画家兼主角的社会文化和审美经历，他碰巧参观了 Gir 森林的内部区域，并与当地居民一起度过了一个项目。就在这里，他遇到了一个与他自己的世界完全不同的世界——谦逊、无私的乡下人过着与自然组成在一起并与自然完美同步的生活。他们叫Gayr及其动植物群，以及Saavaj（“狮子”）的翻译并不完美），Gir骄傲的象征——所有这些都被当地居民视为不逊色于人类，并且存在着强烈的相互情感依恋。主角对这一切着迷，当Gir逐渐向他揭开她的谜团时，他感到奇怪的宾至如归。作为一个具有高度文化特色的文本，Akoopar 肯定会对翻译人员构成巨大的挑战。本文试图分析这些挑战以及翻译人员如何应对这些挑战。

According to Dr Jayaraju, the translator faces the greatest challenge while transferring kinship words from one language to another. And the problem multiplies if there is a great gap between the cultures of two languages as it would happen with English translation of Akoopar. This is because English has fewer words to express relations compared to Gujarati. The word ‘uncle’ in English, for instance, would be an all-covering term for kaka, mama, masa, fua etc. in Gujarati as ‘aunt’ would be for kaki, mami, masi, foi etc.
Jayaraju 博士表示，译者在将亲属词从一种语言转移到另一种语言时面临着最大的挑战。如果两种语言的文化之间存在巨大差距，问题就会成倍增加，就像阿库帕尔的英文翻译一样。这是因为与古吉拉特语相比，英语用来表达关系的单词更少。例如，英语中的“uncle”一词是 kaka、mama、masa、fua 等的统称，而古吉拉特语中的“aunt”则代表 kaki、mami、masi、foi 等。

Thus, the translator would naturally find it difficult to find an English equivalent for Gujarati and dialectal kinship words like Aima (mother/grandmother), Bapa (father/elderly male figure), Gaga (informal address for ‘son’),sodi(informal for ‘daughter’), Vira (brother), Madi (mother), fai (aunty), Vevai
因此，译者自然会发现很难找到古吉拉特语和方言亲属关系词的英语对应词，如 Aima（母亲/祖母）、Bapa（父亲/老年男性形象）、Gaga（“儿子”的非正式称呼）、sodi（非正式）代表“女儿”）、Vira（兄弟）、Madi（母亲）、fai（阿姨）、Vevai
(father-in-law of son/daughter), Vevan (mother-in-law of son/daughter), Gadhavi (fiancé) etc. which occur frequently in the source text. For most of such words, the translator has retained the original words, since translating them would mar the beauty of the work, and has given the meaning beside the word within parenthesis. However, the researcher thinks that providing the English translation along with the original word on such occasions sometimes makes the address look too formal and disturbs the flow of reading and flavour of the passage. The researcher humbly suggests the use of footnotes/endnotes for such a purpose.
（儿子/女儿的岳父）、Vevan（儿子/女儿的婆婆）、Gadhavi（未婚夫）等，这些在源文本中经常出现。对于大多数此类单词，译者保留了原文，因为翻译它们会损害作品的美感，并在括号内给出了单词旁边的含义。然而，研究人员认为，在这种情况下提供英文翻译和原文有时会使地址看起来过于正式，并扰乱阅读的流畅性和文章的风味。研究人员谦虚地建议为此目的使用脚注/尾注。

Culture-specific words are those which refer to objects/aspects (viz. dressing style, food, rituals) specifically belonging to a particular cultural or ethnic group, not found elsewhere in any other cultural or ethnic group. The source text under scrutiny contains several dozens of such words which are exclusively a part of Gujarati and specially Kathiawadi culture. Jhok, Nes, Beedi, Kundhi, Datan, Kediyu, Jimi, Odhani, Shiraman, Penda, Gathiya, Kariyatu, Chauk, Bhavai, Viradi, Indhoni, Khatlo, Dholiyo etc. are among a few examples.
文化特定词汇是指那些专门属于特定文化或种族群体的物体/方面（即着装风格、食物、仪式），在任何其他文化或种族群体中都找不到。接受审查的源文本包含数十个此类单词，这些单词完全是古吉拉特语，特别是卡蒂亚瓦迪文化的一部分。 Jhok、Nes、Beedi、Kundhi、Datan、Kediyu、Jimi、Odhani、Shiraman、Penda、Gathiya、Kariyatu、Chauk、Bhavai、Viradi、Indhoni、Khatlo、Dholiyo 等都是其中的一些例子。

These are words whose English equivalent cannot be found from the dictionary because they are not a part of English culture. Most of the aforementioned words have been retained and their explanation provided in parenthesis alongside. However, the researcher is again of the opinion that providing an appropriate explanation regarding such culture-specific terms as a part of the endnotes serves the purpose better rather than briefly and superficially explaining them in the parenthesis alongside in a word or two. In fact, a translator, at such occasion, can take up the role of a tourist guide and become a
这些单词在字典中找不到对应的英语单词，因为它们不属于英语文化的一部分。上述大部分词语均被保留，并在括号中提供了它们的解释。然而，研究人员再次认为，将此类文化特定术语作为尾注的一部分提供适当的解释比在括号中用一两个词简单、肤浅地解释它们更能达到目的。事实上，翻译在这种场合可以扮演导游的角色，成为一名导游。
cultural ambassador to Gir by providing interesting insights about the region in his/her endnote. For instance, along with retaining the word bhavai while translating, a brief paragraph, as an endnote, about the origin of the dramatic form and its cultural richness in the context of Gujarat would definitely have added to the significance of the translation.
吉尔的文化大使，在他/她的尾注中提供有关该地区的有趣见解。例如，在翻译时保留“bhavai”一词的同时，用一段简短的段落作为尾注，介绍戏剧形式的起源及其在古吉拉特邦背景下的文化丰富性，肯定会增加翻译的意义。

In addition to this, there are certain expressions specific to the culture of Gir whose translation needs to be examined. For instance, “KhammaGayrne” (Bhatt 3) from the source text has been translated as “May the Gir be blessed” (Joshi 7) which is debatable because the expression, rooted in Kathiawadi culture, comes from the verb khamavu (i.e. To bear the pain) and is used by Aima in a very comprehensive manner such as “May Gir get the strength to bear the pain.” In the expression “Aa badhi Gayr chhe. Gaandi Gayr” (19) translated as “This is all Gayr, crazy Gayr.” (23), Gaandi Gayr would mean ‘vulnerable’ and life-threatening to anyone who doesn’t follow its unwritten laws and decorum. Therefore, “vulnerable” could have been a closer adjective in place of ‘crazy’.
除此之外，还有一些吉尔文化特有的表达方式，其翻译也需要检查。例如，源文本中的“KhammaGayrne”（Bhatt 3）被翻译为“May the Gir be happy”（Joshi 7），这是有争议的，因为这个表达源于卡蒂亚瓦迪文化，来自动词 khamavu（即承担）疼痛），并且被艾玛以非常全面的方式使用，例如“愿吉尔获得承受疼痛的力量”。在表达“Aa badhi Gayr chhe”中。 Gaandi Gayr”（19）翻译为“这都是盖尔，疯狂的盖尔。” (23)，对于任何不遵守不成文法律和礼节的人来说，Gaandi Gayr 意味着“脆弱”和威胁生命。因此，“脆弱”可能是一个更接近“疯狂”的形容词。

In his article ‘Problems of Cross-Cultural Translation and the Translator’s Role’, Dr
在他的文章“跨文化翻译问题和译者的角色”中，博士

Jayaraju notes: “Translating idioms and proverbs is the most challenging work of the translator of fiction.” (223) Most of the times, a literal / word-to-word translation of these cultural items results into a blunder, the reason being, as Baker puts it, idioms, fixed expressions and proverbs “are frozen patterns of language which allow little or no variation in form.” (63)
贾亚拉朱指出：“翻译成语和谚语是小说译者最具挑战性的工作。” (223) 大多数时候，这些文化项目的字面/逐字翻译会导致错误，原因是，正如贝克所说，习语、固定表达方式和谚语“是语言的冻结模式，几乎不允许或者形式上没有变化。” (63)

In Akoopar, one finds expressions like “Tu to jaane marad nu faadiyu” (Bhatt 26), “Kala akshar kuvade marya” (58), “Thakar taru abhare bhare”(127) etc. which are rooted in the history, customs, religion, geography and local conditions of a region. Their literal translation looks unnatural. Instead, the translator has to extract the figurative meaning in them and if unable to find a parallel in the target language, has to work with multiple strategies. In this case, the translators have adopted one of the following strategies:-
在 Akoopar 中，人们可以找到诸如“Tu to jaane marad nu faadiyu”（Bhatt 26）、“Kala akshar kuvade marya”（58）、“Thakar taru abhare bhare”（127）等表达方式，这些表达方式植根于历史、习俗、一个地区的宗教、地理和风土人情。他们的直译看起来不自然。相反，译者必须提取其中的比喻意义，如果无法在目标语言中找到对应的含义，则必须使用多种策略。在这种情况下，译者采取了以下策略之一：-
(i) Finding an expression in the target language similar in form and meaning - For example, “Tu to jane marad nu fadiyu” (Bhatt 26) has been translated as “… as if you were a real man.” (Joshi 30)
(i) 在目标语言中找到形式和含义相似的表达方式 - 例如，“Tu to jane marad nu fadiyu”（Bhatt 26）已被翻译为“……就像你是一个真正的男人一样”。 （乔志 30）
(ii) Omission, if the expression has no close match in target language and is omissible - For example, the proverb “Kala akshar kuvade marya” (58) has been omitted while translating, explaining it in other words
(ii) 省略，如果该表达在目标语言中没有紧密匹配并且可以省略 - 例如，谚语“Kala akshar kuvade marya”（58）在翻译时被省略，换句话说是解释它
(iii) Paraphrasing, where the translation is reduced to literal level and translation loss occurs - For example, “Thakar taru abhare bhare, bhai. So varas no tha” (127) has been translated as “May the Lord fill your store! May you live to be a hundred!” (139). The phrase “…Ene to bakhiyathaijai”(45) has been translated as “… is a blessed one” (49). Similarly, the beauty of the alliteration has to be compromised with when
(iii) 释义，即翻译被简化为字面水平并发生翻译损失 - 例如，“Thakar taru abhare bhare, bhai. So varas no tha”（127）被翻译为“愿主充满你的储存！祝你活到一百岁！” （139）。短语“……Ene to bakhiyathaijai”(45) 被翻译为“……是一个受祝福的人”(49)。同样，头韵的美感也必须在以下情况下妥协：
“Gayr ma gar ma ne gar to dar ma” (74) is translated as “Don’t enter the Gayr and if you enter then don’t be scared.” (81)
“Gayr ma gar ma ne gar to dar ma”（74）被翻译为“不要进入盖尔，如果你进入了，就不要害怕。” (81)

Robert Frost has famously defined poetry as that “which gets lost in translation” (Qtd in Hovhannisyan). Roman Jakobson, in his article “On Linguistic Aspects of Translation” says that poetry is “by definition untranslatable. Only creative transposition is possible.” (Qtd in Hovhannisyan). This is because the translation of poetry involves numerous factors to be handled - phonemic, syntactic, semantic, figurative, metrical and aesthetic - each being equally challenging. Ezra Pound, defining the role of a translator writes: “Much depends on the translator. He can show where the treasure lies.” (Qtd in Hovhannisyan) A simple thumb rule, however, lies in Matiu’s conclusion, “The translator of poetry must become the voice of the original poet and thus he should be able to produce a poem that sounds as if it were written by that particular author directly in the target language.” (133)
罗伯特·弗罗斯特（Robert Frost）曾将诗歌定义为“在翻译中迷失的诗歌”（Qtd in Hovhannisyan）。罗曼·雅各布森（Roman Jakobson）在他的文章“论翻译的语言学方面”中说，诗歌“从定义上来说是不可翻译的。只有创造性的转换才是可能的。” （Qtd 为 Hovhannisyan）。这是因为诗歌翻译涉及到许多需要处理的因素——音位、句法、语义、比喻、韵律和审美——每一个因素都同样具有挑战性。埃兹拉·庞德（Ezra Pound）在定义译者的角色时写道：“很大程度上取决于译者。他可以告诉我们宝藏在哪里。” （Hovhannisyan 中的 Qtd）然而，Matiu 的结论中有一个简单的经验法则：“诗歌翻译者必须成为原诗人的声音，因此他应该能够创作一首听起来像是由特定诗人写的诗。”直接用目标语言作者。” (133)

Akoopar, set up in a rural background, contains several pieces of doohas and chhandas - poetical forms belonging to folk literature. The challenge of the translator multiplies because these have a complex metrical pattern and their language is majorly dialectal. For instance:
阿库帕尔以乡村为背景，包含几首杜哈斯和查达斯——属于民间文学的诗歌形式。译者面临的挑战成倍增加，因为这些语言具有复杂的格律模式，而且他们的语言主要是方言。例如：
“Ghantalo payane ghantali ne, ne anavar vaanhaadhor
“Ghantalo payane ghantali ne，ne anavar vaanhaadhor
Hiral, Meghal jaanadiyu ne Gayr ma zaakamzol” (Bhatt 33)
Hiral, Meghal jaanadiyu ne Gayr ma zaakamzol”（巴特 33）
This is how the translation goes:-
翻译是这样的：-
“Ghantalo weds Ghantali. The Best man is Vanhadhor,
“甘塔洛与甘塔利结婚。最佳男伴是 Vanhadhor，
Hiran and Meghal are present in the marriage ceremony
希兰和梅盖尔出席婚礼
And there is a great pomp in the Gir.” (Joshi 37)
吉尔里有盛大的盛况。” （乔志 37）

While the above translation successfully retains the denotative meaning of the couplet, there is a considerable loss in translation for the following reasons: (i) In this case, the translator has opted for a literal phrase-by-phrase translation. (ii) The syntax has been changed from poetic to prosaic because of which the naturalness of poetry suffers. (iii) The translation of Anvar as “the best man” and Hiral, Meghal jaanadiyu as “Hiral and Meghal are present in the marriage ceremony” is questionable.
上述译文虽然成功地保留了对联的指代意义，但由于以下原因，翻译中存在相当大的损失：（一）在本例中，译者选择了逐句直译。 (ii) 句法已从诗意变为平淡，因此诗歌的自然性受到损害。 (iii) Anvar 翻译为“伴郎”，Hiral, Meghal jaanadiyu 翻译为“Hiral 和 Meghal 出席婚礼”是有问题的。

Another quatrain describing the beauty of flowing Hiran river:-
另一首绝句描述了流动的希兰河的美丽：-
“Dungar thi dalati ghaat utarati padti na padti aakhadati
Aave uchhalanti jara na darati dagalaa bharati madazarati
Kilkaraa karati jaai garajati ghoraali
基尔卡拉·卡拉蒂·贾艾·加拉贾蒂·古拉阿里
Hiran halakari jobanwaali nadi rupaali nakharaali” (Bhatt 245)
Hiran halakari jobanwaali nadi rupaali nakharaali”（巴特 245）
The quatrain has been translated as:
该绝句被译为：
Rolling down the hills, decending the pass,
滚下山坡，下山口，
Leaping down fearlessly, lunging forward, intoxicated,
无所畏惧地纵身一跃，向前冲刺，陶醉其中，
Giving out cries of joy, Roaring -
发出喜悦的叫声，咆哮——
Hiran ever youthful vivacious river beautiful and bewitching treads in style." (Joshi 268)
希兰永远年轻活泼的河流美丽而迷人的风格。”（Joshi 268）
The above translation suffers less loss of sense because the translator has skilfully used the nearest equivalents for expressions in the TL viz. “Rolling down the hills” (Dungar thi dalati), “Leaping down fearlessly” (Ave uchhalanti jara na darati), “Lunging forward, intoxicated” (Dagala bharati madazarati) etc. However, typo-error in the word “decending” (268) and the punctuation error in the last line of the quatrain is immediately eye-catching.
上述翻译的意义损失较小，因为译者巧妙地使用了最接近的对应词来表达 TL viz 中的表达方式。 “从山上滚下来”（Dungar thi dalati）、“无畏地跳下”（Ave uchhalanti jara na darati）、“向前猛冲，陶醉”（Dagala bharati madazarati）等。但是，“下降”一词中的拼写错误（ 268），这首四行诗最后一行的标点错误立即引人注目。

Aporia in language, according to Derrida, is the ultimate stage of undecidability or indeterminacy of meaning resulting due to
根据德里达的说法，语言中的 Aporia 是由于以下原因而导致的意义的不可判定性或不确定性的最终阶段：
differance - the endless play of signification that goes on in language, where, “any attempt to define or interpret the signification of a sign or chain of signs consists in nothing more than the interpreter’s putting in its place another sign or chain of signs, sign-substitutions” (Abrams 441) Due to this incessant play, no sign or chain of signs can have a determinate meaning. This he calls a limitation of language.
差异——在语言中进行的无休止的意义游戏，其中，“任何定义或解释一个符号或一系列符号的意义的尝试只不过是解释者将另一个符号或一系列符号、符号放在其位置上”。 -替代”（Abrams 441）由于这种不断的游戏，任何符号或符号链都不能具有确定的含义。他称之为语言的局限性。

In Akoopar, when the protagonist realizes that Gir is much more than merely a forest, he attempts what Roman Jakobson would call ‘a paradigmatic substitution’ for the word ‘forest’. In the process of signification, he uses a train of signifiers, each a step higher than the previous, for describing the beauty and greatness of Gir viz. Aranya, Atavi, Van, Vipin, Gahan, Guhin, Kanan, Bhiruk, Vikt, Praantar . . . (Joshi 119). Here, each of the word-signs seeks recourse to the following one to complete the process of signification, the meaning is differed and deferred but the ultimate signified is never achieved. The translator has preserved and well-described this state of Aporia through the protagonist, who finally says: “The language has several words which are synonyms for Van-forest, but none of them can fully describe it in its total meaning.” (Joshi 119)
在《阿库帕尔》中，当主角意识到吉尔不仅仅是一片森林时，他尝试用罗曼·雅各布森（Roman Jakobson）所说的“森林”一词的“范式替代”。在意指的过程中，他使用了一系列比前一个更高一级的能指来描述吉尔维兹的美丽和伟大。阿那亚、阿塔维、范、维平、加汉、古欣、卡南、比鲁克、维克特、普兰塔。 。 。 （乔希119）。这里，每一个词符号都寻求借助下一个词符号来完成其意指过程，其意义有所不同和延迟，但最终的所指却从未达到。译者通过主人公保留并很好地描述了阿波里亚的这种状态，主人公最后说道：“语言中有几个词是范森林的同义词，但没有一个能够完整地描述它的全部含义。” （乔志119）

The debate concerning issues like Equivalence, Loss in translation and Untranslatability has been long-persistent in translation. In keeping with the source text, the researcher thinks that translation is above all a transfer of experience into language/words. Translation happens first of all at an experiential level. An artist ‘translates’ his lived experience into a work of art. For an author, he ‘translates’ his experience on the pages through language.
关于翻译中的对等、翻译损失和不可译性等问题的争论长期以来一直存在。与源文本保持一致，研究人员认为翻译首先是将经验转化为语言/文字。翻译首先发生在体验层面。艺术家将他的生活经历“转化”为艺术作品。对于一个作家来说，他通过语言将自己的经历“翻译”在书页上。

Thus, the very act of creation is an act of translation. While untranslatability might be deemed as a myth in textual translation (i.e.
因此，创造行为本身就是一种翻译行为。虽然不可译性可能被视为文本翻译中的一个神话（即
translation of a text from one language to another), untranslatability cannot be completely discarded as a myth in the translation of lived experience into language. There are certainly problems of equivalence that prevail in translation at experiential level and Akoopar, where the painter-protagonist struggling to ‘translate’ his experience into works of painting often fails to do so, provides strong examples of such untranslatability. From the very moment the protagonist enters Gir and thinks of painting it, he admits: “I am not sure at present whether I’ll succeed in capturing the understanding coming out of my search, in my writing or in painting.” (Joshi 32) Further, in an incident, he says: “I also realised that if I cannot capture that truth in my paintings, it was no use to make an attempt to paint them.” (39) He comes across people and events that change his entire perception viz. Aima telling Khama Gayrne, Incident of Lajo, the girl seeing Goddess incarnate in s a stone which he is never able to bring down in his pictures. Finally, as if he admits the untranslatability, the author writes: “I left the picture unfinished which I had been planning to draw since I stepped into the Gir.” (296). Thus, Akoopar opens up new avenues for discussion of untranslatability.
文本从一种语言翻译成另一种语言），在将生活经验翻译成语言时，不可译性不能作为一个神话而被完全抛弃。在经验层面的翻译中肯定存在普遍存在的对等问题，而阿库帕尔（Akoopar）为这种不可译性提供了强有力的例子，其中画家主角努力将他的经验“翻译”成绘画作品，但常常失败。从主角进入吉尔并想到将其画下来的那一刻起，他就承认：“我目前不确定我是否能成功地在我的写作或绘画中捕捉到我的探索中的理解。” (Joshi 32) 此外，在一次事件中，他说：“我还意识到，如果我不能在我的画作中捕捉到这一真理，那么尝试画它们是没有用的。” (39) 他遇到的人和事改变了他的整个看法。艾玛告诉卡马·盖恩，《拉乔事件》，女孩看到女神化身在一块石头里，而他在照片中却永远无法把这块石头拍下来。最后，似乎承认了不可译性，作者写道：“自从我踏进吉尔以来，我就一直计划画这幅画，但我没有完成这幅画。” （296）。因此，阿库帕尔为讨论不可译性开辟了新的途径。

The researcher, from the aforesaid instances, concludes that loss in translation is inevitable, especially in a culturally rich text like Akoopar. However, the quality of any translation is to be mapped not always by what is lost but by what is gained. With all its prevailing theories, Translation is ultimately praxis. Translation is performance. The translator, by undertaking the translation of such a text, has contributed substantially to transferring the cultural richness of Gir to English-knowing community of readers.
研究人员从上述例子中得出结论，翻译中的损失是不可避免的，尤其是在像阿库帕尔这样文化丰富的文本中。然而，任何翻译的质量并不总是由失去的内容来衡量，而是由获得的内容来衡量。尽管有所有流行的理论，翻译最终还是实践。翻译就是表演。译者通过翻译这样的文本，为将吉尔的文化丰富性传递给懂英语的读者群体做出了重大贡献。

However, one has to remember that translator has to be, on many occasions, a critic and interpret things on behalf of his target readers. His language, therefore, ought to be “critical language”. “In our multicultural context, the translator must become the most indispensable mediator, if indeed true communication between people of different languages were to happen… Translators are always between two places: the reality of source language and possibilities of the target language. Through the act of translation, the translator opens the door for dialogue.” (Schulte 4)
然而，我们必须记住，在很多情况下，译者必须是一名批评家，并代表目标读者来解释事物。因此，他的语言应该是“批判性语言”。 “在我们的多元文化背景下，如果不同语言的人们之间确实能够进行真正的交流，译者必须成为最不可或缺的调解者……译者总是在两个地方之间：源语言的现实和目标语言的可能性。通过翻译行为，译者打开了对话之门。” （舒尔特 4）