互文性视角下的中国古典诗歌英译研究
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摘要
诗歌,作为国家杰出文化的宝贵遗产,堪称是民族智慧的结晶。历经千百年的洗礼,诗歌语言简洁洗练、韵律严谨、对仗工巧。由于诗歌几乎涵盖了所有艺术形式的美学性质,对于所有民族来说,它都可以被视作最具审美情趣和至高无上的文学形式。中国古典诗歌是世界文学史上光辉璀璨的一笔,其历史、文化和文学价值都决定了中国古典诗歌英译研究价值的重要性和必要性。中国古典诗歌的美在于它简洁的言辞、丰富的形式、深远的内涵,等等,而正是这些特征为翻译带来了难度。尽管在翻译过程中,诗歌内涵的损失和诗歌美感的磨蚀是不可避免的,诗歌翻译仍拓展了不同国家及文化对于文学研究的视野,并且为人类文学研究增光添彩。
互文性作为有关文本的理论,是现代文学批评中的一个重要概念。互文性理论发源自西方的结构主义及解构主义思潮,该理论认为任何一部作品里的符号都与未在作品里出现的其他符号相关联,任何文本都与别的文本相交织,每一个文本都是其他文本的折射,是对其他文本的吸收和转化。它们相互参照,彼此牵涉,形成一个潜力无限的开放网络,从而构成文本过去、现在、将来的庞大辐射体系和文学符号的演变过程。正如首次正式提出“互文性”这一概念的法国著名理论家茱莉亚?克里斯蒂娃所言:“每个文本的外形都是用马赛克般的引文拼嵌起来的图案,每个文本都是对其他文本的吸收和转化”。(哈蒂姆,梅森,2001,125)自此,互文性理论就成为了文学理论最为重要的分支。当涉及到两种不同语言和文化时,这种互文性关联可能因为所属文化圈的隔膜,往往不为处于另一文化系统中的受众所理解,从而成为语际交际中的障碍。互文指涉宛如藏匿在文化这张大幕后的“导演”,他操纵前台“演员”即语言符号进行表演。如若只看到“演员”而忽略了幕后的“导演”,就会造成对文本的误解。因此,对互文指涉的完全理解有助于对原语文本的正确解读,这对翻译研究非常重要。
互文性作为一种研究方法为人们提供了一个多元的视角,它契合了翻译研究发展的方向,即对原文中心的颠覆及对译文的重视,对译者主体性、文化背景和多元翻译标准的关注,因而被译学研究所采纳并得到了深入的探索。正因为互文性理论与诗歌的语言特征相符,将其运用于诗歌翻译研究领域是可行且有益的。
本论文旨在从互文性理论的角度探讨中国古典诗歌的英译,共分为七个章节,每章在论述主题方面有所侧重。
绪论部分首先提出文章的研究目的所在,并陈述了诗歌翻译的特性以及国内外诗歌翻译研究的发展情况。本章指出,诗歌翻译非封闭的、静态的系统,而是一个不断自我调节和自我适应的体系,唯有超越与消解可以赋予诗歌翻译无穷的活力。这一点不仅是互文性理论对诗歌翻译的启示和要求,同时还符合了文学理论和翻译学科的客观规律。
第二章通过对众多理论家思想的分析追溯了互文性理论的起源和发展,将互文性看做一个描绘工具,同时也是一个批评武器。作为一种后现代主义文本观,互文性追求文本的不确定性、不完整性、互动性、非线性和耗散性,从而自诞生之日起就赢得了广泛关注,并对相关人文科学领域产生了深远的影响。来自不同领域的大量学者根据他们自身研究的重点和需求大大的丰富并拓展了互文性理论体系。
第三章侧重互文性理论和翻译研究之间的内在关联。本章从互文性翻译研究现状入手,根据意义和文本的互文性本质将翻译归结为一种互文性活动,并重新检验了互文性视角下原文和译文之间的关系,以及译者在翻译中的三重身份,最后阐明了互文性与译者主体性之间的辩证关系。
第四章首先详述了诗歌的构成要素以及诗歌翻译的本质。同时,本章还从互文性角度讨论了诗歌可译性、诗歌翻译标准、诗歌翻译归(异)化策略等一些由来已久的话题。
第五章讨论了互文性观照下诗歌翻译中语音传递的处理。本章首先从语音的三个方面,即节奏、韵律及音位效果,就英语诗歌和汉语诗歌音乐性的体现进行了对比;然后详细论述了不同情况下有关语音诗歌翻译的策略选择。就节奏来说,本章提出中国古典诗歌中“顿”在翻译中应当用英语中的韵脚来代替,中国古诗中的五言或七言律诗在英译中应当以抑扬格五音步的形式呈现。就韵律而言,根据英语汉语之间韵律的互文,本章提出源语的韵式应当在翻译过程中采用相应的或者固定的韵式,英语诗歌的押韵格式(如:随韵式、双交韵式和抱韵式)与汉语诗歌的押韵格式构成互文。至于音位效果,本章从两个方面探索了中国古典诗歌与英语诗歌之间的互文性,即联觉语音象征和叠音词。
第六章着重于互文性对翻译过程中诗歌意象再造的阐释力。首先对诗歌的意象研究进行综述,包括其概念、起源、发展、本质和分类;然后回顾了与诗歌意象再造相关的两理论,即关联理论和主体性。本章主要讨论了传统理论和互文性理论关于诗歌意象再造的方法及策略。根据互文性理论,诗歌意象再造可简化为两主要策略:通过保留原“象”从而保存其“意”,或通过调整原“象”从而保存其“意”。本章通过理论描述佐以语料分析的方式对以上两种策略进行了详述。
文章最后部分辩证地对全文进行回顾与总结,指出互文性理论对于诗歌翻译实践及翻译批评无疑具有深远的重要性。
研究方法上,本文遵循了跨学科研究的最一般科学方法论,即演绎、归纳与类比。此外,在广泛涉猎互文性及诗歌翻译理论原著的基础上进行了广泛的理论思考。本文以互文性理论综述辅以中国古典诗歌英译个案分析,理论阐述与翻译实践相辅相成,体现了本文撰写方法论上的逻辑严谨性。
Poetry is a valuable legacy of one country’s outstanding culture, which can be rated as the intelligent crystallization of the nation. Tempered by thousands of years, the poetic language is concise, the meters are precise and the antithesis is neatly formed. In all nations, poetry could be regarded as the most superior aesthetic form or the supreme form of literature, which almost covers aesthetic nature of all art modes. Chinese classical poetry lights up one of the greatest cultures in the world. Its historical, cultural and literary value determines the importance and the necessity of the study on English translation of Chinese classical poetry. The beauty of Chinese classical poetry lies in its conciseness of wording, variety of forms, abundance of connotations and so on, which also bring about difficulties to poetry translation. Though the loss of connotation and the ablation of aesthetics are inevitable in the process of translation, poetry translation broadens the horizon of literature study of different countries and cultures, and brings additional credit to the literature study of human beings.
Intertextuality, a theory about text, is an important term in modern literary critique, which originates from the western structuralism and post-structuralism ideological trend. It holds that symbols in any works are all related with other symbols not appearing in the present works, any text interweaves with other texts and is the refraction of others. They consult each other and involve each other, forming an opening network with limitless potentiality, which forms both an enormous radiating system of the text in the past, at present and in the future and an evolving process of literary symbols. Just as Julia Kristeva, a famous French theorist, who first put forward the term said,“Every text is constructed as a mosaic of citations, every text is an absorption and transformation of other texts.”(Hatim & Mason, 2001, 125) After its coinage by Julia Kristeva, intertextuality has been employed in most of the important branches of literary theories. When it is involved in two kinds of different languages and cultures, this kind of intertextual relation may not be understood by people in different culture systems due to lack of mutual knowledge of cultural circles and then will become obstacles in cross-language communication. The intertextual reference is just like the director who not only hides deeply behind the curtain of culture but also manipulates the language signs acting on the stage. Only recognizing the actors but neglecting the director will lead to mis-interpretation of the original text. Therefore, full and accurate understanding of the intertextual reference makes it possible to avoid partial or even false interpretation of the original text, which is of great significance for translation. As a way of research and study, intertextuality provides us with a multiplex
perspective which precisely coordinates with the trend of translation study -- the subversion of the centrism of the original text and the emphasis on the translation, the subjectivity of the translator, the cultural background and the multiplex translation standard, hence it has been adopted by translation study and has been explored thoroughly. As the intertextual theories accords with the language features of poetry, it is helpful and feasible to apply intertextuality to the study of poetry translation.
This dissertation explores the translation of Chinese classical poetry from the perspective of intertextual theories in seven chapters, each bearing a focus of argument.
After the establishment of the research object of the dissertation, the introduction states the peculiarity of poetry translation, and surveys the development of poetry translation studies both at home and abroad. It holds that poetry translation is not a closed and static system but an open system of continuous self-adjustment and self-adaptation, and only surpassing and elimination can endow poetry translation with endless vital force, which not only is the enlightenment and requirement of intertextuality, but also accords to the objective laws of literary theory and translation.
Chapter 2 traces the origin, and development of the theory of intertextuality with a host of theorists, viewing intertextuality as both a depicting device and a critic weapon. As a post-modern viewpoint on text, intertextuality, pursuing the indeterminacy, incompletion, interactivity, nonlinearity and decentralism of text, has won extensive attention and exerted its profound influence in relative humanistic fields ever since its coinage. Various scholars from different fields have enriched and expanded its theoretical system in terms of their research emphasis and demand.
Chapter 3 is focused on the innate relationship between intertextuality and translation studies. After a brief literature review on current intertextuality-oriented translation study, the dissertation argues translation as an intertextual activity from the intertexual nature of meaning and text. Then re-examined in this chapter are the relationship between the source text and the target text and the translator’s triple-role in translation in the perspective of intertextuality. Last, the dialectical relationship between intertextuality and subjectivity of the translator is illustrated.
Chapter 4 begins with the expanding on the components of the poem and the essence of poetry translation, and then relevant issues on poetry translation such as translatability & untranslatability, translation criteria, domestication & foreignization are discussed in the perspective of intertextuality in this chapter.
Chapter 5 gives a helpful guide to the transmission of musicality in poetry translation in light of intertextuality. After a comparative study on manifestation of musicality between English and Chinese on three aspects of sound, namely rhythm, rhyme and phonemic effects, the chapter details the poetry translation strategies and tactics under various conditions separately. First it argues the Dun in Chinese classical poetry should be substituted for feet in English version, and five or seven-character Lines in Chinese poetry be rendered as iambic pentameter in English poetry in the perspective of rhythm. As for rhyme intertextuality between Chinese and English, this chapter holds that the rhyme type of the source language should be translated to the corresponding or certain fixed rhyme type of the target language and the rhyme-scheme of English poetry (i.e. free rhyme, alternate rhyme and embracing rhyme) forms intertextuality with that of Chinese. Last comes to phonemic effects, this chapter endeavors to establish the intertextuality between Chinese classical poetry and English one on two aspects: the synaesthetic sound symbolism and reduplicated words.
Chapter 6 first presents an overview of poetic image study, including the definition, origin, development, essence and classification of poetic image. After that, this chapter provides a theoretical review of the two related theories on poetic image reconstruction: relevance theory and subjectivity. The chief part of this chapter is closely related to the translation methods and strategies concerning poetic image reconstruction in the traditional and intertextual perspectives. According to the analysis of the poetic image reconstruction process based on intertextual theory, the poetic image reconstruction process is simplified into two major strategies: maintaining Yi by keeping the original Xiang, or maintaining Yi by adapting the original Xiang. Both strategies are explained in a theoretical way as well as with analysis of examples. Finally, the author summarizes the interpretive power of intertextuality on poetic image reconstruction.
Last, the conclusion dialectically reviews and summarizes the abovementioned issues. It argues that the theory of intertextuality undoubtedly has far-reaching significance to both poetry translation practice and translation criticism. In terms of the methodology of study on this subject, the dissertation has been adopting some scientific methods in interdisciplinary research: deduction, induction and analogy. In addition, based on meticulous readings of works or papers on intertextuality and poetry translation, the author undertakes a thorough theoretical probe. In this dissertation, specific translating cases in Chinese classical poetry are closely related to relevant intertextual theories, which embodies the logicality of methodology in the author’s study.
互文性作为有关文本的理论,是现代文学批评中的一个重要概念。互文性理论发源自西方的结构主义及解构主义思潮,该理论认为任何一部作品里的符号都与未在作品里出现的其他符号相关联,任何文本都与别的文本相交织,每一个文本都是其他文本的折射,是对其他文本的吸收和转化。它们相互参照,彼此牵涉,形成一个潜力无限的开放网络,从而构成文本过去、现在、将来的庞大辐射体系和文学符号的演变过程。正如首次正式提出“互文性”这一概念的法国著名理论家茱莉亚?克里斯蒂娃所言:“每个文本的外形都是用马赛克般的引文拼嵌起来的图案,每个文本都是对其他文本的吸收和转化”。(哈蒂姆,梅森,2001,125)自此,互文性理论就成为了文学理论最为重要的分支。当涉及到两种不同语言和文化时,这种互文性关联可能因为所属文化圈的隔膜,往往不为处于另一文化系统中的受众所理解,从而成为语际交际中的障碍。互文指涉宛如藏匿在文化这张大幕后的“导演”,他操纵前台“演员”即语言符号进行表演。如若只看到“演员”而忽略了幕后的“导演”,就会造成对文本的误解。因此,对互文指涉的完全理解有助于对原语文本的正确解读,这对翻译研究非常重要。
互文性作为一种研究方法为人们提供了一个多元的视角,它契合了翻译研究发展的方向,即对原文中心的颠覆及对译文的重视,对译者主体性、文化背景和多元翻译标准的关注,因而被译学研究所采纳并得到了深入的探索。正因为互文性理论与诗歌的语言特征相符,将其运用于诗歌翻译研究领域是可行且有益的。
本论文旨在从互文性理论的角度探讨中国古典诗歌的英译,共分为七个章节,每章在论述主题方面有所侧重。
绪论部分首先提出文章的研究目的所在,并陈述了诗歌翻译的特性以及国内外诗歌翻译研究的发展情况。本章指出,诗歌翻译非封闭的、静态的系统,而是一个不断自我调节和自我适应的体系,唯有超越与消解可以赋予诗歌翻译无穷的活力。这一点不仅是互文性理论对诗歌翻译的启示和要求,同时还符合了文学理论和翻译学科的客观规律。
第二章通过对众多理论家思想的分析追溯了互文性理论的起源和发展,将互文性看做一个描绘工具,同时也是一个批评武器。作为一种后现代主义文本观,互文性追求文本的不确定性、不完整性、互动性、非线性和耗散性,从而自诞生之日起就赢得了广泛关注,并对相关人文科学领域产生了深远的影响。来自不同领域的大量学者根据他们自身研究的重点和需求大大的丰富并拓展了互文性理论体系。
第三章侧重互文性理论和翻译研究之间的内在关联。本章从互文性翻译研究现状入手,根据意义和文本的互文性本质将翻译归结为一种互文性活动,并重新检验了互文性视角下原文和译文之间的关系,以及译者在翻译中的三重身份,最后阐明了互文性与译者主体性之间的辩证关系。
第四章首先详述了诗歌的构成要素以及诗歌翻译的本质。同时,本章还从互文性角度讨论了诗歌可译性、诗歌翻译标准、诗歌翻译归(异)化策略等一些由来已久的话题。
第五章讨论了互文性观照下诗歌翻译中语音传递的处理。本章首先从语音的三个方面,即节奏、韵律及音位效果,就英语诗歌和汉语诗歌音乐性的体现进行了对比;然后详细论述了不同情况下有关语音诗歌翻译的策略选择。就节奏来说,本章提出中国古典诗歌中“顿”在翻译中应当用英语中的韵脚来代替,中国古诗中的五言或七言律诗在英译中应当以抑扬格五音步的形式呈现。就韵律而言,根据英语汉语之间韵律的互文,本章提出源语的韵式应当在翻译过程中采用相应的或者固定的韵式,英语诗歌的押韵格式(如:随韵式、双交韵式和抱韵式)与汉语诗歌的押韵格式构成互文。至于音位效果,本章从两个方面探索了中国古典诗歌与英语诗歌之间的互文性,即联觉语音象征和叠音词。
第六章着重于互文性对翻译过程中诗歌意象再造的阐释力。首先对诗歌的意象研究进行综述,包括其概念、起源、发展、本质和分类;然后回顾了与诗歌意象再造相关的两理论,即关联理论和主体性。本章主要讨论了传统理论和互文性理论关于诗歌意象再造的方法及策略。根据互文性理论,诗歌意象再造可简化为两主要策略:通过保留原“象”从而保存其“意”,或通过调整原“象”从而保存其“意”。本章通过理论描述佐以语料分析的方式对以上两种策略进行了详述。
文章最后部分辩证地对全文进行回顾与总结,指出互文性理论对于诗歌翻译实践及翻译批评无疑具有深远的重要性。
研究方法上,本文遵循了跨学科研究的最一般科学方法论,即演绎、归纳与类比。此外,在广泛涉猎互文性及诗歌翻译理论原著的基础上进行了广泛的理论思考。本文以互文性理论综述辅以中国古典诗歌英译个案分析,理论阐述与翻译实践相辅相成,体现了本文撰写方法论上的逻辑严谨性。
Poetry is a valuable legacy of one country’s outstanding culture, which can be rated as the intelligent crystallization of the nation. Tempered by thousands of years, the poetic language is concise, the meters are precise and the antithesis is neatly formed. In all nations, poetry could be regarded as the most superior aesthetic form or the supreme form of literature, which almost covers aesthetic nature of all art modes. Chinese classical poetry lights up one of the greatest cultures in the world. Its historical, cultural and literary value determines the importance and the necessity of the study on English translation of Chinese classical poetry. The beauty of Chinese classical poetry lies in its conciseness of wording, variety of forms, abundance of connotations and so on, which also bring about difficulties to poetry translation. Though the loss of connotation and the ablation of aesthetics are inevitable in the process of translation, poetry translation broadens the horizon of literature study of different countries and cultures, and brings additional credit to the literature study of human beings.
Intertextuality, a theory about text, is an important term in modern literary critique, which originates from the western structuralism and post-structuralism ideological trend. It holds that symbols in any works are all related with other symbols not appearing in the present works, any text interweaves with other texts and is the refraction of others. They consult each other and involve each other, forming an opening network with limitless potentiality, which forms both an enormous radiating system of the text in the past, at present and in the future and an evolving process of literary symbols. Just as Julia Kristeva, a famous French theorist, who first put forward the term said,“Every text is constructed as a mosaic of citations, every text is an absorption and transformation of other texts.”(Hatim & Mason, 2001, 125) After its coinage by Julia Kristeva, intertextuality has been employed in most of the important branches of literary theories. When it is involved in two kinds of different languages and cultures, this kind of intertextual relation may not be understood by people in different culture systems due to lack of mutual knowledge of cultural circles and then will become obstacles in cross-language communication. The intertextual reference is just like the director who not only hides deeply behind the curtain of culture but also manipulates the language signs acting on the stage. Only recognizing the actors but neglecting the director will lead to mis-interpretation of the original text. Therefore, full and accurate understanding of the intertextual reference makes it possible to avoid partial or even false interpretation of the original text, which is of great significance for translation. As a way of research and study, intertextuality provides us with a multiplex
perspective which precisely coordinates with the trend of translation study -- the subversion of the centrism of the original text and the emphasis on the translation, the subjectivity of the translator, the cultural background and the multiplex translation standard, hence it has been adopted by translation study and has been explored thoroughly. As the intertextual theories accords with the language features of poetry, it is helpful and feasible to apply intertextuality to the study of poetry translation.
This dissertation explores the translation of Chinese classical poetry from the perspective of intertextual theories in seven chapters, each bearing a focus of argument.
After the establishment of the research object of the dissertation, the introduction states the peculiarity of poetry translation, and surveys the development of poetry translation studies both at home and abroad. It holds that poetry translation is not a closed and static system but an open system of continuous self-adjustment and self-adaptation, and only surpassing and elimination can endow poetry translation with endless vital force, which not only is the enlightenment and requirement of intertextuality, but also accords to the objective laws of literary theory and translation.
Chapter 2 traces the origin, and development of the theory of intertextuality with a host of theorists, viewing intertextuality as both a depicting device and a critic weapon. As a post-modern viewpoint on text, intertextuality, pursuing the indeterminacy, incompletion, interactivity, nonlinearity and decentralism of text, has won extensive attention and exerted its profound influence in relative humanistic fields ever since its coinage. Various scholars from different fields have enriched and expanded its theoretical system in terms of their research emphasis and demand.
Chapter 3 is focused on the innate relationship between intertextuality and translation studies. After a brief literature review on current intertextuality-oriented translation study, the dissertation argues translation as an intertextual activity from the intertexual nature of meaning and text. Then re-examined in this chapter are the relationship between the source text and the target text and the translator’s triple-role in translation in the perspective of intertextuality. Last, the dialectical relationship between intertextuality and subjectivity of the translator is illustrated.
Chapter 4 begins with the expanding on the components of the poem and the essence of poetry translation, and then relevant issues on poetry translation such as translatability & untranslatability, translation criteria, domestication & foreignization are discussed in the perspective of intertextuality in this chapter.
Chapter 5 gives a helpful guide to the transmission of musicality in poetry translation in light of intertextuality. After a comparative study on manifestation of musicality between English and Chinese on three aspects of sound, namely rhythm, rhyme and phonemic effects, the chapter details the poetry translation strategies and tactics under various conditions separately. First it argues the Dun in Chinese classical poetry should be substituted for feet in English version, and five or seven-character Lines in Chinese poetry be rendered as iambic pentameter in English poetry in the perspective of rhythm. As for rhyme intertextuality between Chinese and English, this chapter holds that the rhyme type of the source language should be translated to the corresponding or certain fixed rhyme type of the target language and the rhyme-scheme of English poetry (i.e. free rhyme, alternate rhyme and embracing rhyme) forms intertextuality with that of Chinese. Last comes to phonemic effects, this chapter endeavors to establish the intertextuality between Chinese classical poetry and English one on two aspects: the synaesthetic sound symbolism and reduplicated words.
Chapter 6 first presents an overview of poetic image study, including the definition, origin, development, essence and classification of poetic image. After that, this chapter provides a theoretical review of the two related theories on poetic image reconstruction: relevance theory and subjectivity. The chief part of this chapter is closely related to the translation methods and strategies concerning poetic image reconstruction in the traditional and intertextual perspectives. According to the analysis of the poetic image reconstruction process based on intertextual theory, the poetic image reconstruction process is simplified into two major strategies: maintaining Yi by keeping the original Xiang, or maintaining Yi by adapting the original Xiang. Both strategies are explained in a theoretical way as well as with analysis of examples. Finally, the author summarizes the interpretive power of intertextuality on poetic image reconstruction.
Last, the conclusion dialectically reviews and summarizes the abovementioned issues. It argues that the theory of intertextuality undoubtedly has far-reaching significance to both poetry translation practice and translation criticism. In terms of the methodology of study on this subject, the dissertation has been adopting some scientific methods in interdisciplinary research: deduction, induction and analogy. In addition, based on meticulous readings of works or papers on intertextuality and poetry translation, the author undertakes a thorough theoretical probe. In this dissertation, specific translating cases in Chinese classical poetry are closely related to relevant intertextual theories, which embodies the logicality of methodology in the author’s study.
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