Accommodation in this article is considered a synonym of adaptation which means changes are made so the target text produced is in line with the spirit of the original. Translation consists of providing, in the receptor language, the closest natural equivalent of the source language message, first in terms of meaning and secondly in terms of style. We believe translation is not merely linguistic conversion or transformation between languages but it involves accommodation in scope of culture, politics, aesthetics, and many other factors. The opposite of adaptation is transcription, which is a word-for-word method of translation rarely applied in translation practice with the exception of lists and catalogues, because linguistic differences forbid us from doing so, especially when the two languages belong to quite different language families such as English and Chinese. Accommodation is also translation, a free, rather than literal, kind of translation.

     Academically, it is the dispute between source-centered and target-centered trends. During most of the history of translation both in China and the West, source-centeredness was regarded a priority and was strictly followed. As translation theories develop, a shift can be observed from source to target, from form to content and meaning which is essential in any form of human communication. Our suggestion is that if for linguistic or cultural reasons the source cannot be transcribed, we must make accommodations rather than translate it literally. As a matter of fact, accommodations are made exactly to preserve the original style or manner. Moreover, it is inevitable in practice if the translation is to maintain the source message's essence, impact, and effect.

1. Collocation accommodation

If language were simply a nomenclature for a set of universal concepts, it would be easy to translate from one language to another. Actually, each language articulates or organizes the world differently and languages do not simply name existing categories, but they articulate their own. Regular dictionaries are of little help in translating collocations, and the translator must often resort to accommodation.

2 .Cultural accommodation

Culture is too broad a term and it may cover everything. Culture can mean the arts collectively; knowledge and sophistication; shared beliefs and values of a group; shared attitudes. In both interpreting and translation, accommodations must be made so communication may proceed smoothly, with neither party feeling offended and irritated.

3. Ideological accommodation

By ideological accommodation I mean sexual and political concerns. Most Chinese, avoid the topic of sex, which is usually considered pornography. So in translation we either omit or abbreviate the original graphic description of a sex scene. We will edit the language or the scene, or make it implicit instead. In English-Chinese translation, the translator would always make accommodations to soften the original tone, hoping not to offend the readers.

Another theme is politics to which no less attention ought to be paid. Patriotism forbids one from making critical or unfavorable statements or spreading them by translating.

4. Aesthetic accommodation

Poetry has been notoriously believed to be untranslatable. Because poetry is fundamentally valuable for its aesthetic value, aesthetic accommodation becomes a skill instead of a basic requirement. A good poetry translator instinctively knows the difference between the aesthetic traditions of different cultures, so his/her translation can be better appreciated by the target reader and can achieve the required effect.

By Aiwei Shi  http://www.translationdirectory.com/article67.htm

翻譯中的改寫

     「適應」這個詞在此篇文章中的意義等同於｢改寫」，它表示譯者為了使譯作能呈現原文的精隨而做出字面上的更動。翻譯必須從讀者的語言中提供和原文最相仿且最自然的表達方式，第一要傳達出相同的意義，第二則是相同的文風。因為觸及文化、政治、美學和其他諸多層面，我們認為翻譯不僅止於語言之間的轉換，也包含了改寫的工作。和改寫相對應的即是直譯，它是一種逐字依照原文而不作任何變動的翻譯方式，但因為受限於語言之間的差異，尤其當兩種語言明顯來自不同的語系，如英文和中文時，除了翻譯表單或目錄等特例外，我們鮮少使用此種方法。改寫其實也是翻譯的一種，只是比起直譯的方式更為靈活。

在學術上，翻譯要忠於原文或忠於譯義的爭辯一直都存在。而無論是在中國或西方的翻譯史中，大多強調原文重於譯義的觀念，且都嚴格遵守此一定律。但隨著翻譯理論的發展，翻譯的重心已逐漸從原文轉向成果，且從注重文章形式轉變為注重人類溝通最基本的要素－內容和意義上。我們的看法是，如果因為語言或文化因素而無法直譯原文，譯者就必須藉由改寫而做出意譯。事實上，改寫正是為了保留文章最原始的風格和樣貌。況且，如果譯作企圖保持原文的精髓、衝擊力和效應，那麼進行改寫往往是無可避免的。

1.詞語搭配的改寫：

    如果語言只是一套通用概念的命名，那麼兩個語言之間的翻譯就會很簡單。但事實上，每個語言各自以不同的方式描述或建構這個世界，而一個語言中現有的辭彙在另一個語言中可能就沒有。翻譯時若要做詞語搭配，一般的字典並沒有太大幫助，譯者常常必須藉助改寫以提高讀者的理解度。

2.文化方面的改寫：

    文化一詞包含很廣，它可以是指所有的藝術、知識和教養、一個群體的共同信念、價值、或態度。不管是口譯或筆譯，都必須透過適當改寫，雙方才能順利的溝通，不至於冒犯和激怒他方。

3.意識形態的改寫：

    意識形態的改寫主要指的是性和政治兩方面的關切。大部分中國人都會避開性的話題，因為性通常被認為是色情，所以翻譯時我們不是省略就是縮減原本對於性場景的描述。我們會改寫原文、變更場景或使它們變得隱諱。在英譯中的時候，為了不觸怒讀者，譯者往往會做適度改寫，讓原文的語調比較柔和。

    政治是另一個不能被忽略的議題。因為愛國主義不允許任何帶批判性或不利其國家的言論藉由翻譯發表或散播。

4.藝術性改寫：

    詩一向被視為無法翻譯，因為詩的價值很根本的就在於其美學價值，因此配合美學做改寫就不只是基本要求，而更需要技巧。一個好的詩歌譯者需要很本能地就瞭解在不同文化中的差異美學傳統，因此其翻譯作品才更能得到讀者的賞識，也可以達到必要的效果。

Xin-Juan Lee & Yi-tin Sun(李欣娟、孫意婷)