另一个问题，也跟漫画有关。画面上是运动员起着马飞奔，标题是：马到成功。

毫无疑问，要翻译的就是这个“马到成功”。怎么译呢？同事跟我探讨。还真是个难题。尽管我很少愿意使用汉英词典，但这种时候可以参考一下，至少看看能否有什么启发或提示。

词典上的译文是解释性的，说白了，这种解释性的译文是帮助外国人理解中国成语用的，做翻译用根本不行。怎么可能有不变应万变的译文呢？况且，这里是做标题用，即便词典的译文合适，但冗长的表达如何用作标题啊？

在英文里，horse跟“成功”很难搭上关系的。如果是在文字篇章中，我们或者可以避开“马”这一形象，进行意译，即“舍其形，取其意”。但这里不行，画面上明明有马，这也是这幅漫画作者用意之所在，画面中的“马”与标题中的“马”是有联系的，舍弃了就会失色。

可能是晚饭那一碗红烧肉没有白吃，我想出一个方案，提供给同事，让他参考：Gallop for success.

Gallop本身就是形容马飞奔的词，而且还是拟声词，有如疾驰的马蹄声，如此便与画面中的“马”的形象构成了联系。飞奔夺取“成功”（success），或许说得过去。如果联系到这是奥运比赛，或许舍弃“成功”（success），直接更具体地表达为“金牌”（gold），也不错。

“马”不宜舍弃，“成功”可以再造。然否？

想起奥运期间碰到的两个翻译问题，记录下来，以备后查。

图表组做的一幅漫画，画面上两个运动员，一个中国的，一个外国的，具体什么项目我记不得了。中国运动员是上届冠军，给他设计的台词是：“我要卫冕。”外国运动员是有望夺冠构成威胁的选手，给他设计的台词是：“怎么赢？”并且有一个搔脑门的动作。

漫画所表达的内容一目了然，棋逢对手嘛。问题在于，要把这条稿子发对外，要翻译成英文。同事把已编稿拿给我看，跟我探讨。编辑把那两句话翻译成：—I want to defend my championship. —How to win?

第一句问题不大，championship如果嫌长——毕竟漫画中用以书写文字的空间有限——还可以用title替换。

要命的是第二句，字字对应，“信”度极高，而且这种说法是中国学生口语中最为常见的表达方式之一。最典型的就是那个how to say，很奇怪，几乎风靡全国，说明这不是一个个别现象，而是一种趋同的思维方式。可是我们见过外国人这么说过吗？语言的创造性不是这么表现的。它跟中国人的那句用来延缓语气的“怎么说呢？”是不对应的，与那句“（……用英语）怎么说？”的询问也大不相同。

回到漫画。“怎么赢？”作为设计出来的外国运动员的内心独白，它的完整表达应该是 “我怎么才能够赢/打败他呢？”如果是在日常两人的对话中，有了具体语境，可能一个“how”就足以。比如，一个人说：“你这次一定要赢他，夺取冠军”，另一个人可以说：“怎么赢？”（But how?）但是这里不是对话，漫画所设计的两句话没有相互交流的属性，形不成对话，而是两人各自的内心独白，各怀“鬼胎”。如果翻译成how，那就完蛋了，那就无形中把内心独白转化成了对话。一个说：“我要卫冕，”另一个问：“怎么卫冕？”（how?）这显然偏离了漫画的本意。

那么还有一个办法就是明示其意，把“怎么赢”的意思完整地用英文表达出来——我怎么才能够赢/打败他呢？How can I defeat/win him?我却不喜欢，感觉生硬。

但是最终我给出的参考意见不是这个。我的译文是：Challenge him!

这个译文的优点在于：1、简洁，节省空间；有力，祈使句，表现出一种敢于胜利的决心，而且突出了剑拔弩张的气氛。2、与第一句形成对应，一个要卫冕，一个要挑战。卫冕与挑战本身就是矛盾的双方。试想，哪届奥运会不是卫冕与挑战之间的角逐呢？要不哪来的“更快更高更强”呢？

但也有缺点：与画面有一定距离。画面上的外国运动员摸着脑袋，若有所思地说：Challenge him!从中国人的角度来看，不对味啊。那么，外国人来看呢？合适吗？这毕竟是给外国人看的啊。

问题就出现了。一个给中国人看的稿子，能否只靠翻译就变得为外国人喜闻乐见呢？或许，这已经超出了翻译的话题。

（待续）

Cornell Capa, 90; Founder Of N.Y. Photography Center

By Matt Schudel
Cornell Capa, a globetrotting photojournalist who founded the International Center of Photography in New York and dedicated himself to preserving the legacy of his older brother, war photographer Robert Capa, died May 23 at his home in New York of Parkinson's disease. He was 90.
游历世界的新闻摄影师康奈尔·卡帕因患帕金森病于5月23日在纽约家中去世，享年90岁。卡帕创办了纽约国际摄影中心，并致力于保护他的哥哥、战地记者罗伯特·卡帕的遗产。

Early in his career, Mr. Capa stepped away from the battlefield focus of his brother, whose photographs of the Spanish Civil War and World War II are some of the most stark and memorable images of warfare. Saying that "two war photographers in the family was too much," the younger brother concentrated on "opening the door to worlds that people would not have seen otherwise," with a portfolio that ranged from scenes of political oppression to candid shots of Marilyn Monroe.
在事业的早期阶段，卡帕先生就放弃了哥哥所关注的战场。哥哥拍摄的西班牙内战和第二次世界大战的照片成为最为冷酷真实、最为令人难忘的战争照片的组成部分。弟弟说“一个家庭两个战地记者，也太多了，”因此，他致力于“打开人们无法见到的世界的大门”，其作品涵盖了从政治压迫的场面到抓拍的玛丽莲·梦露的镜头。

He coined the term "concerned photography" to describe an emotional engagement with his subjects that often blurred the border of journalistic objectivity. Working as a staff and contract photographer for Life magazine for more than 20 years, Mr. Capa infused his pictures with a quiet, revealing drama that made him almost as renowned as his dashing brother.
他创造了“忧国忧民的摄影师”一词，用来说明对自己拍摄对象的情感投入，这些拍摄对象往往使新闻客观性的界线变得模糊不清。卡帕先生在《生活》杂志担任雇员和签约摄影师20多年，把一种悄无声息的、具有启迪意义的戏剧性元素注入自己的作品之中，他因此几乎与勇敢的哥哥齐名天下。

One of Mr. Capa's stylistic traits was to show telling details by narrowing his camera's view. In photographing the 1949 funeral of tap dancer Bill "Bojangles" Robinson, Mr. Capa focused not on the faces of the mourners who were lined up along a street, but on their shoes. While covering John F. Kennedy's race for the White House in 1960, he showed Kennedy's hands reaching into a crowd.
卡帕先生的风格特点之一就是用缩小相机的视角来展示生动的细节。在1949年拍摄踢踏舞演员比尔·罗宾森的葬礼时，卡帕先生没有把焦点对准沿街而立的哀悼者的面部，而是对准了他们的鞋子。在1960年采访约翰·肯尼迪角逐白宫时，他拍摄了肯尼迪伸向人群的双手。

In the 1950s, he photographed life in the Soviet Union and the world of mentally ill children, sensitively revealing a subject that had been all but ignored.
上世纪50年代，他拍摄了苏联的生活和精神病患儿的世界，敏锐地揭示了一个几乎被人们忽视的主题。

He created one of his most memorable photos while following Adlai Stevenson on the presidential campaign trail in 1952. As Stevenson spoke from the back of a train, Mr. Capa photographed the candidate from behind, with the crowd spreading out before him.
在1952年跟随阿德莱•史蒂文森采访总统竞选的过程中，他拍摄了一张最为令人难忘的照片。史蒂文森在一列火车后部发表讲话，卡帕先生从后面抓拍到这张照片，史蒂文森面前是分散的人群。

In 1960, he took time out from the presidential campaign to visit the Nevada movie set of "The Misfits," the final completed movie of Clark Gable and Marilyn Monroe.
1960年，他从总统竞选的采访中拿出时间来，访问了内华达州《乱点鸳鸯谱》的电影拍摄现场，这是克拉克·盖博和玛丽莲·梦露的最后一部完成的电影。

Sensing that Kennedy represented a change in political style, Mr. Capa and seven other photographers chronicled the president's first 100 days in office. The resulting book, "Let Us Begin," appeared 10 days after the final photograph was taken and became known as "instant history."
由于意识到肯尼迪代表了政治风格上的一个转变，卡帕先生与另外7个摄影师对总统上任后的头100天进行了记录。就在最后一张照片拍摄完毕后的第10天，作为成果的《让我们开始》出版发行，并被誉为“即时历史”。

As time passed, Mr. Capa developed a sense of mission about preserving the history and conscience of his craft. Some of his most lasting contributions to photography came after he put his camera down in 1974 and organized the International Center of Photography.
随着时间的推移，卡帕先生产生了一种保存历史的使命感和对摄影的良知。他对摄影做出的最为持久的一部分贡献是在1974年他放下相机，组织成立了国际摄影中心之后。

In 20 years as executive director, he built the ICP into one the world's foremost museums of photography. He made it the world's largest repository of his brother's work and regularly presented exhibitions of his photography.在担任主任的20年时间里，他把国际摄影中心建成了一个世界一流的摄影博物馆。他使之成为世界上最大的他哥哥的作品陈列馆，并定期举办展览。

Robert Capa, who once said, "If your pictures aren't good enough, you aren't close enough," was killed at age 40 when he stepped on a landmine in Vietnam in 1954 while on assignment for Life magazine.
罗伯特·卡帕曾说过：“如果你的照片不够好，说明你靠得不够近。”1954年，他在越南为《生活》杂志拍摄作品时踩上地雷，遇难身亡，时年40岁。

"From that day," Cornell Capa told Newsweek magazine in 1994, "I was haunted by the question of what happens to the work a photographer leaves behind, by how to make the work stay alive."
康奈尔·卡帕在1994年接受《时代周刊》杂志采访时说：“从那天起，困扰我心头的问题就是如何处理摄影师留下的作品，如何让这些作品永葆活力。”

Kornel Friedmann was born April 14, 1918, in Budapest. His brother, who was five years older, fled Hungary for political reasons in 1931 and settled in Paris, where he changed his name from Andrei Friedmann to Robert Capa. When the younger brother joined him there in 1936, he was called "the little Capa."
科内尔·弗里德曼于1918年4月14日出生于布达佩斯。比他大5岁的哥哥在1931年因政治原因而逃离匈牙利，定居于巴黎，并在那里把名字由安德烈·弗里德曼改成罗伯特·卡帕。1936年，弟弟前来入伙，被称为“小卡帕。”

Cornell Capa came to New York in 1937 and worked in a photo agency darkroom before joining Life as a printer in 1938. He served in an Army Air Forces photo-intelligence unit during World War II and became a U.S. citizen in 1944. He officially changed his name the same year.
1937年，康奈尔·卡帕来到纽约，在一家图片社做暗房工作，随后于1938年加入了《生活》杂志，做冲扩员。二战期间，他在陆军航空兵照相侦查部门服役，1944年加入美国籍。同年，他正式改名。

Mr. Capa was a Life staff photographer from 1946 to 1954 and contributed to the magazine through 1967, when he went to the Middle East to cover his only major conflict, the Six-Day War.卡帕先生从1946到1954年在《生活》做全职摄影师，直到1967年他赴中东采访唯一一次重大冲突“六日战争”时还在为杂志供稿。

From 1956 to 1960, he was president of the Magnum Photos agency, which had been co-founded by his brother. In 1967, he presented an exhibition of renowned 20th-century photographers, "The Concerned Photographer," and collected their works in a book.
从1956到1960年，他担任玛格南图片社的社长，该图片社是他哥哥参与创建的。1967年，他举办了20世纪著名摄影师作品展览《忧国忧民的摄影师》，并结集出版。

To ensure that their example would not be forgotten, Mr. Capa conceived the idea for the ICP, which opened its doors in 1974. One of its early benefactors was former first lady Jacqueline Kennedy Onassis, whom Mr. Capa befriended while photographing the early days of the Kennedy White House.
为了确保他们树立的榜样不被遗忘，卡帕先生产生了成立国际摄影中心的设想，1974年该中心开门营业。其早期的捐助者之一是前第一夫人杰奎琳·肯尼迪·奥纳西斯，卡帕先生在拍摄肯尼迪早期的白宫生活时和她成为了朋友。

His wife of 61 years, Edith Schwartz Capa, died in 2001. There are no immediate survivors.
他61岁的妻子伊迪丝·施瓦茨·卡帕于2001年去世。目前已没有直系在世亲属。

"I have always thought of myself not as a reporter, but as a commentator," Mr. Capa wrote in the introduction to his 1992 book "Cornell Capa Photographs." "I have aimed to be a credible witness, one who cares about the world he inhabits."
卡帕先生在他1992年出版的《康奈尔·卡帕摄影集》一书的导言中写道“我一贯认为自己不是一名记者，而是评论者。”“我的目标是成为一名值得信任的目击者，一个关注他所居住的世界的目击者。”

                                           译自The Washington Post May 24，2008