基于语料库的自译与他译比较研究
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摘要
针对自译是不是翻译这一问题,本文首先进行自译个案对比分析,即以张爱玲短篇小说《桂花蒸阿小悲秋》为例,对该汉语原作及其自译文本和他译文本进行语际对比,并基于COCA语料库分别对该自译文本、他译文本以及自译者同时代英国女作家的英文原创文本进行语内类比,然后再基于汉英自译平行语料库及其单语可比语料库对自译英语、文学他译英语和文学原创英语加以语内考察,从中窥探自译特性。文章指出:自译基本享有他译范畴的共同特性,但在"译者主体性"上比他译更显张扬;他译过程中"译"与"作"互动往往较为隐性,其中"译"是主宰,"作"为固有潜在;自译中"译"与"作"互动往往更直接显化,其中"译"是主导,"作"是一种显性倾向。类比他译,自译在翻译结果上仍体现为以忠实于原作为主导。
Given the different views on whether self-translation is really translation,this paper attempts to make clear the nature of self-translation by first taking Eileen Chang's short story Guihuazheng,A-Xiao Beiqiu as a case study,making a contrastive analysis between the Chinese original and its two English versions — Shame,Amah translated by the author and Steamed Osmanthus Flower: Ah Xiao's Unhappy Autumn by Simon Patton — and drawing a detailed intralingual comparison between the above-mentioned two English versions and the short story To Room Nineteen by British woman novelist Doris Lessing on the basis of COCA. Then,it proceeds with the intralingual comparison between the English self-translations based on Chinese English Self-Translation Parallel Corpus( CESTPC),the conventionally-translated English texts based on TEC Narrative Prose and the English original texts based on BNC Narrative Prose. The paper holds that self-translation basically possesses those features that conventional translation usually does except that the self-translator's subjectivity is supposed to be much greater than the conventional translator's,that in conventional translation,"translating"and"writing"interact fairly covertly,among which "translating"dominates while "writing"usually happens as it is,and that in selftranslation,"translating"and"writing"interplay more overtly,among which "translating"is the primary mission while"writing"intervenes more intentionally. But compared with conventionally-translated texts,self-translations are also faithful to their original texts and remain unchanged qualitatively as translated texts.
Given the different views on whether self-translation is really translation,this paper attempts to make clear the nature of self-translation by first taking Eileen Chang's short story Guihuazheng,A-Xiao Beiqiu as a case study,making a contrastive analysis between the Chinese original and its two English versions — Shame,Amah translated by the author and Steamed Osmanthus Flower: Ah Xiao's Unhappy Autumn by Simon Patton — and drawing a detailed intralingual comparison between the above-mentioned two English versions and the short story To Room Nineteen by British woman novelist Doris Lessing on the basis of COCA. Then,it proceeds with the intralingual comparison between the English self-translations based on Chinese English Self-Translation Parallel Corpus( CESTPC),the conventionally-translated English texts based on TEC Narrative Prose and the English original texts based on BNC Narrative Prose. The paper holds that self-translation basically possesses those features that conventional translation usually does except that the self-translator's subjectivity is supposed to be much greater than the conventional translator's,that in conventional translation,"translating"and"writing"interact fairly covertly,among which "translating"dominates while "writing"usually happens as it is,and that in selftranslation,"translating"and"writing"interplay more overtly,among which "translating"is the primary mission while"writing"intervenes more intentionally. But compared with conventionally-translated texts,self-translations are also faithful to their original texts and remain unchanged qualitatively as translated texts.
引文
[1]Bassnett,Susan&Andre Lefevere.Constructing Cultures—Essays on Literary Translation[M].Shanghai:Shanghai Foreign Language Education Press,2001.
[2]Beaujour,Elizabeth Klosty.Translation and Self-translation[A].Vladimir E.Alexandrov.The Garland Companion to Vladimir Nabokov[C].New York&London:Garland Publishing,INC.,1995.714-782.
[3]Chang,Eileen.Shame,Amah[A].Nieh Hua-Ling.Eight Stories By Chinese Women[C].Taipei:The Heritage Press,1962.91-114.
[4]Ehrlich,Shlomit.Are Self-translators Like Other Translators?[J].Perspective:Studies in Translatology,2009,(4):243-255.
[5]Fitch,Brian Thomas.Beckett and Babel:An Investigation into the Status of the Bilingual Work[M].Toronto Buffalo&London:University of Toronto Press,1988.
[6]Grutman,Rainier.Auto-translation[A].Mona Baker.Routledge Encyclopedia of Translation Studies[Z].Shanghai:Shanghai Foreign Language Education Press,2004.
[7]Laviosa,Sara.Core Patterns of Lexical Use in a Comparable Corpus of English Narrative Prose[J].Meta,1998,(4):557-570.
[8]Lessing,Doris.To Room Nineteen[OL].http://www.ourtxt.net/z263851.html,2013.
[9]Nida,Eugene&Charles Taber.The Theory and Practice of Translation[M].Shanghai:Shanghai Foreign Language Education Press,2004.
[10]Patton,Simon.Steamed Osmanthus Flower:Ah Xiao’s Unhappy Autumn[OL].http://ishare.iask.sina.com.cn/f/16667856.html,2012.
[11]Popovic,Anton.Dictionary for the Analysis of Literature Translation[Z].Edmonton:Department of Comparative Literature,The University of Alberta,1976.
[12]Ouyang,Yu.Translating Myself,Recreating Myself[A].Ouyang,Yu.Bias:Offensively Chinese/Australian[C].Melbourne:Otherland Publishing,2007.193-208.
[13]Stubbs,Michael.Text and Corpus Analysis:Computer-assisted Studies of Language and Culture[M].Oxford:Blackwell,1996.
[14]Wilson,Rita.The Writer’s Double:Translation,Writing,and Autobiography[J].Romance Studies,2009,(3):186-198.
[15]陈吉荣.基于自译语料的翻译理论研究——以张爱玲自译为个案[M].北京:中国社会科学出版社,2009.
[16]黎昌抱.哲学阐释学视域下的文学自译运作机制研究[J].外语教学,2011a,(2):92-95.
[17]黎昌抱.文学自译研究:回顾与展望[J].外国语,2011b,(3):89-96.
[18]黎昌抱.哲学阐释学视域下的文学自译标准策略考察[J].中国外语,2012,(5):101-106.
[19]李小均.纳博科夫翻译观的嬗变[J].解放军外国语学院学报,2003,(2):82-85.
[20]林克难.增亦翻译,减亦翻译——萧乾自译文学作品启示录[J].中国翻译,2005,(5):44-47.
[21]马若飞.张爱玲翻译研究[D].北京:北京语言大学,2007.
[22]王克非.语料库翻译学探索[M].上海:上海交通大学出版社,2012.
[23]杨联芬.母语还是翻译?——谈海外华人文学的写作语言[J].华文文学,2006,(1):19-20.
[24]杨仕章.译者标记性研究:自我翻译者[J].解放军外国语学院学报,2009,(3):77-82.
[25]张爱玲.桂花蒸阿小悲秋[OL].http://bbs.dxsxs.com/viewthread.php?tid=8271,2012.
[26]赵艳芳.认知语言学概论[M].上海:上海外语教育出版社,2001.
1汉英自译平行语料库(Chinese English Self-translation Parallel Corpus,简称CESTPC)是由黎昌抱主持并于2013年研制完成的汉英双向自译对应语料库。该库语料均为小说、散文和诗歌等文学文本,主要涉及白先勇、卞之琳、林语堂、刘诚之、聂华苓、萧乾、叶维廉、於梨华、余光中、张爱玲等海内外著名英汉双语作家的主要自译作品,且均为1930年到2002年间的出版物,其中80%以上是1950年以后的出版物。库容总量为6,389,469词,由汉自译英平行语料子库和英自译汉平行语料子库组成。其中“汉自译英平行语料子库”容量为3,239,619词,包括29个汉英双语文本(19部/篇小说,8篇散文和2部诗集)。图3的英语自译译作词汇密度数据就是源自该子库。
2 英语他译文学和英语原创文学的词汇密度数据均取自Laviosa[7:561],前者源于TEC Narrative Prose子库,该子库容量为9,999,945词,包括2部传记和12篇(部)小说,语料为1983年到1994年间的出版物,大多由英国本土出版机构出版。TEC(Translational English Corpus)是世界上首个只收入译自法语、德语、西班牙语等41种语言的英语翻译语料(不限原语种类)的“翻译英语语料库”,由Mona Baker和Sara Laviosa开发建立。后者源于BNC Narrative Prose子库,库容量为729,349词,包括3 部传记和15篇(部)小说,语料为1985年到1993年间的出版物,均选自BNC(British National Corpus)语料库[7:559-561]。
3“汉自译英平行语料子库”中汉语原作语料的词汇密度为54.27%,和英语原创文学相当接近。如果我们将英语自译译作和它加以对比,就会发现英语自译译作也存有“简略化”倾向。
[2]Beaujour,Elizabeth Klosty.Translation and Self-translation[A].Vladimir E.Alexandrov.The Garland Companion to Vladimir Nabokov[C].New York&London:Garland Publishing,INC.,1995.714-782.
[3]Chang,Eileen.Shame,Amah[A].Nieh Hua-Ling.Eight Stories By Chinese Women[C].Taipei:The Heritage Press,1962.91-114.
[4]Ehrlich,Shlomit.Are Self-translators Like Other Translators?[J].Perspective:Studies in Translatology,2009,(4):243-255.
[5]Fitch,Brian Thomas.Beckett and Babel:An Investigation into the Status of the Bilingual Work[M].Toronto Buffalo&London:University of Toronto Press,1988.
[6]Grutman,Rainier.Auto-translation[A].Mona Baker.Routledge Encyclopedia of Translation Studies[Z].Shanghai:Shanghai Foreign Language Education Press,2004.
[7]Laviosa,Sara.Core Patterns of Lexical Use in a Comparable Corpus of English Narrative Prose[J].Meta,1998,(4):557-570.
[8]Lessing,Doris.To Room Nineteen[OL].http://www.ourtxt.net/z263851.html,2013.
[9]Nida,Eugene&Charles Taber.The Theory and Practice of Translation[M].Shanghai:Shanghai Foreign Language Education Press,2004.
[10]Patton,Simon.Steamed Osmanthus Flower:Ah Xiao’s Unhappy Autumn[OL].http://ishare.iask.sina.com.cn/f/16667856.html,2012.
[11]Popovic,Anton.Dictionary for the Analysis of Literature Translation[Z].Edmonton:Department of Comparative Literature,The University of Alberta,1976.
[12]Ouyang,Yu.Translating Myself,Recreating Myself[A].Ouyang,Yu.Bias:Offensively Chinese/Australian[C].Melbourne:Otherland Publishing,2007.193-208.
[13]Stubbs,Michael.Text and Corpus Analysis:Computer-assisted Studies of Language and Culture[M].Oxford:Blackwell,1996.
[14]Wilson,Rita.The Writer’s Double:Translation,Writing,and Autobiography[J].Romance Studies,2009,(3):186-198.
[15]陈吉荣.基于自译语料的翻译理论研究——以张爱玲自译为个案[M].北京:中国社会科学出版社,2009.
[16]黎昌抱.哲学阐释学视域下的文学自译运作机制研究[J].外语教学,2011a,(2):92-95.
[17]黎昌抱.文学自译研究:回顾与展望[J].外国语,2011b,(3):89-96.
[18]黎昌抱.哲学阐释学视域下的文学自译标准策略考察[J].中国外语,2012,(5):101-106.
[19]李小均.纳博科夫翻译观的嬗变[J].解放军外国语学院学报,2003,(2):82-85.
[20]林克难.增亦翻译,减亦翻译——萧乾自译文学作品启示录[J].中国翻译,2005,(5):44-47.
[21]马若飞.张爱玲翻译研究[D].北京:北京语言大学,2007.
[22]王克非.语料库翻译学探索[M].上海:上海交通大学出版社,2012.
[23]杨联芬.母语还是翻译?——谈海外华人文学的写作语言[J].华文文学,2006,(1):19-20.
[24]杨仕章.译者标记性研究:自我翻译者[J].解放军外国语学院学报,2009,(3):77-82.
[25]张爱玲.桂花蒸阿小悲秋[OL].http://bbs.dxsxs.com/viewthread.php?tid=8271,2012.
[26]赵艳芳.认知语言学概论[M].上海:上海外语教育出版社,2001.
1汉英自译平行语料库(Chinese English Self-translation Parallel Corpus,简称CESTPC)是由黎昌抱主持并于2013年研制完成的汉英双向自译对应语料库。该库语料均为小说、散文和诗歌等文学文本,主要涉及白先勇、卞之琳、林语堂、刘诚之、聂华苓、萧乾、叶维廉、於梨华、余光中、张爱玲等海内外著名英汉双语作家的主要自译作品,且均为1930年到2002年间的出版物,其中80%以上是1950年以后的出版物。库容总量为6,389,469词,由汉自译英平行语料子库和英自译汉平行语料子库组成。其中“汉自译英平行语料子库”容量为3,239,619词,包括29个汉英双语文本(19部/篇小说,8篇散文和2部诗集)。图3的英语自译译作词汇密度数据就是源自该子库。
2 英语他译文学和英语原创文学的词汇密度数据均取自Laviosa[7:561],前者源于TEC Narrative Prose子库,该子库容量为9,999,945词,包括2部传记和12篇(部)小说,语料为1983年到1994年间的出版物,大多由英国本土出版机构出版。TEC(Translational English Corpus)是世界上首个只收入译自法语、德语、西班牙语等41种语言的英语翻译语料(不限原语种类)的“翻译英语语料库”,由Mona Baker和Sara Laviosa开发建立。后者源于BNC Narrative Prose子库,库容量为729,349词,包括3 部传记和15篇(部)小说,语料为1985年到1993年间的出版物,均选自BNC(British National Corpus)语料库[7:559-561]。
3“汉自译英平行语料子库”中汉语原作语料的词汇密度为54.27%,和英语原创文学相当接近。如果我们将英语自译译作和它加以对比,就会发现英语自译译作也存有“简略化”倾向。