《哥伦比亚元杂剧选集》评析及对中国文化外译的启示
|
摘要
<正>引言从历史来看,中国文化~①向外传播并非始自中国人的主动向外输送,而是国势强盛、经济繁荣、科技领先之时,友邦人士因需求发起的自觉传译行为,这一行为可追溯至唐宋时期的"供不应求"阶段,甚至更早,但多为亚洲的中国文化圈内各国。至于中国文化传至欧洲的史料,截至目前最
引文
(1)所谓中国文化,并非狭义地指“四书五经”这样的文化经籍,还应包括中国各民族的科学技术、物质文化、制造工艺等,既包括精神文化,又包括物质文化,故传译也并非是文字层面的转换行为,而是中国文化这一无所不包范畴的空间大挪移(包括编译、改编、节译、节选、译介、评论等),日本僧人历经数十载从中国“偷”蚕制丝,即是中国文化的自觉传译行为。
(2)详见贾洪伟:《中华文化典籍外译的推进路径研究》,《外语学刊》2017年第4期,第110—114页;贾洪伟:《有关中国文化走出去视角下民间力量的几点思考》,《外语研究》2017年第5期,第10—13页。
(1)参见贾洪伟:《翻译符号学的信念界定问题》,《燕山大学学报》2018年第4期,第60—65页;张士东、彭爽:《中国翻译产业发展态势及对策研究》,《东北师范大学学报》2016年第1期,第48—52页。
(2)参见徐光台:《明末西方〈范畴论〉重要词语的传入与翻译——从〈天主实义〉到〈名理探〉》,载姚小平主编《海外汉语探索四百年管窥》,北京:外语教学与研究出版社,2008年,第20页。
(3)北京外国语大学比较文明与人文交流高等研究院院长、世界汉语教育史研究会会长张西平教授,于2015年6月18日应邀在首都师范大学大学英语教研部做“海外汉学研究与中国文化走出去”学术讲座,也持同样的观点。此外,20世纪80年代中后期,天津南开大学经管学院与加拿大联合承办工商管理硕士项目,双方教授卢克(M. W. Luke)与陈炳福以管理学为出发点,采用阐释学方式翻译《孙子兵法》(Sunzi on the Art of War and Its Generla Application to Business,1989),在国内外取得良好的社会反响,是为明证。
(4)题名中的“孤本”指《元曲选》以外流行的罕见元明作品。
(1)Shouyi, Chen “The Chinese Orphan:A Yuan Play. Its Influence on European Drama of the Eighteenth Century,” T’ien Hsia Monthly(天下月刊)2.2(1936); T. C. Fan,“Chinese Fables and Anti-Walpole Journalism,” The Review of English Studies 25.98(1949):141—151; Jean Baptiste Du Halde, The General History of China(2nd ed.). London:John Watts, 1739; Liu Wuchi,“The Original Orphan of China,” Comparative Literature 4.3(1953):193—212; Robert K. Douglas, The Language and Literature of China:Two Lectures Delivered at the Royal Institute of Great Britain in May and June, 1875. London:Trübner&Co., 1876及维基百科有关“The Orphan of Zhao”的词条。
(2)Wilt L. Idema and Stephen H. West, Monks, Bandits, Lovers, and Immortals:Eleven Early Chinese Plays. Indianapolis, IN:Hackett, 2010; Wilt L. Idema and Stephen H. West, The Orphan of Zhao and Other Yuan Plays:The Earliest Known Versions.New York:Columbia University Press, 2014.
(3)参见该书“致谢”与“序言”,第1页。
(4)英文原文如下:Their goal was to introduce readers to the fascinating works that should claim their rightful place in world theatre and world literature. See “Acknowledgement,” in The Columbia Anthology of Yuan Drama.
(1)英文原文如下:This volume is designed to introduce the reader to the first great flowering of drama in the Chinese tradition. See“Introduction,” The Columbia Anthology of Yuan Drama.
(2)英文原文如下:In an early draft of this volume, all the translations were based on Zang’s Anthology. In our revisions, we chose to use another Ming edition as the base text only in the case of Rescuing a Sister:since there are two good published translations of the play based on Anthology, it may be useful to highlight the more biting sarcasm of the version from Ancient Masters.…For the purpose of comparison, we have translated The Zhao Orphan from the Yuan Editions. Although it is customary to translate Chinese poetry as blank verse, in our revisions we have increase the use of rhymes whenever feasible in order to better convey the pathos or the comic potential. See “Introduction,” The Columbia Anthology of Yuan Drama.
(3)原文如下:They are, as has been said of the writings of the Scribes at the time of Our Lord, cold in manner, second-hand and iterative in their very essence; with no freshness in them, no force, no fire, servile to all authority, opposed to all independence;never passing a hair’s breadth beyond the carefully-watched boundary line of precedent; full of balanced inference and orthodox hesitancy, and impossible literalism; elevating mere memory above genius, and repetition above originality. Robert K. Douglas,“The Languasg and Literatuse of China,” two lectures delivered at the Royal Institution of Great Britain in May and June, 1875.
(4)原文如下:The Chinese are actors by nature, and are no doubt a good deal improved by their inherent cunning and want of sincerity, which make them quick of observation and fertile in resource, and in everyday life enable them easily to catch the tone of those with whom they associate, and on the stage to assume the characters they wish to represent.(Ibid.)此处言论与伏尔泰(Voltaire)在改编《赵氏遗孤》时的评价不符,即it was a “valuable monument of antiquity, and gives us more insight into the manners of China than all the histories which ever were, or ever will be written of that vast empire,” see Min Tian, The PoeticsofDifferenceandDisplacement:Twentieth-CenturyChinese-WesternInterculturalTheatre. Hong Kong:Hong Kong University Press, 2008, p. 21.see David Tod Roy,“Introduction,” in Hsiao-Hsiao-Sheng, The Plum in the Golden Vase or Chin P’ing Mei. Tr. David Tod Roy. Princeton, NJ:Princeton University Press,1993.另参见罗伯特·唐古拉斯撰,贾洪伟译:《中国的文学:英国皇家学院演讲录》,载《国际汉学》2016年第4期,第139—149页。
(1)有关编译的相关阐述,参见贾洪伟:《编译研究综述》,《上海翻译》2011年第1期,第17—20页;贾洪伟:《汉译国外普通语言学典籍研究(1906—1949)》,北京:首都师范大学出版社,2017年,第29—36页。
(2)民间力量指非政府力量,由企业、社会组织和个人构成,其中企业包括外资企业、外商投资企业、中外合资与合作企业、国企、央企、私企与民企,社会组织包括国际非政府组织和国内非政府组织,个人分为专业人士和非专业人士。有关民间力量的全面分析,详见《有关中国文化走出去视角下民间力量的几点思考》,第10—13页。
(1)Chen, Liana,“Book Review:The Columbia Anthology of Yuan Drama(2014),” The Journal of Asian Studies 74. 2(2015):466—467.
(2)I. A. Richards, Mencius on the Mind:Experiments in Multiple Definition. London:Kegan Paul, 1932.
(1)有关民间力量与政府宏观层面的外译信念问题,详见《中华文化典籍外译的推进路径研究》,第112—113页;《有关中国文化走出去视角下民间力量的几点思考》,第11—13页;《翻译符号学的信念界定问题》,第61—63页。
(2)详见贾洪伟:《中华文化典籍外译的推进路径研究》,《外语学刊》2017年第4期,第110—114页;贾洪伟:《有关中国文化走出去视角下民间力量的几点思考》,《外语研究》2017年第5期,第10—13页。
(1)参见贾洪伟:《翻译符号学的信念界定问题》,《燕山大学学报》2018年第4期,第60—65页;张士东、彭爽:《中国翻译产业发展态势及对策研究》,《东北师范大学学报》2016年第1期,第48—52页。
(2)参见徐光台:《明末西方〈范畴论〉重要词语的传入与翻译——从〈天主实义〉到〈名理探〉》,载姚小平主编《海外汉语探索四百年管窥》,北京:外语教学与研究出版社,2008年,第20页。
(3)北京外国语大学比较文明与人文交流高等研究院院长、世界汉语教育史研究会会长张西平教授,于2015年6月18日应邀在首都师范大学大学英语教研部做“海外汉学研究与中国文化走出去”学术讲座,也持同样的观点。此外,20世纪80年代中后期,天津南开大学经管学院与加拿大联合承办工商管理硕士项目,双方教授卢克(M. W. Luke)与陈炳福以管理学为出发点,采用阐释学方式翻译《孙子兵法》(Sunzi on the Art of War and Its Generla Application to Business,1989),在国内外取得良好的社会反响,是为明证。
(4)题名中的“孤本”指《元曲选》以外流行的罕见元明作品。
(1)Shouyi, Chen “The Chinese Orphan:A Yuan Play. Its Influence on European Drama of the Eighteenth Century,” T’ien Hsia Monthly(天下月刊)2.2(1936); T. C. Fan,“Chinese Fables and Anti-Walpole Journalism,” The Review of English Studies 25.98(1949):141—151; Jean Baptiste Du Halde, The General History of China(2nd ed.). London:John Watts, 1739; Liu Wuchi,“The Original Orphan of China,” Comparative Literature 4.3(1953):193—212; Robert K. Douglas, The Language and Literature of China:Two Lectures Delivered at the Royal Institute of Great Britain in May and June, 1875. London:Trübner&Co., 1876及维基百科有关“The Orphan of Zhao”的词条。
(2)Wilt L. Idema and Stephen H. West, Monks, Bandits, Lovers, and Immortals:Eleven Early Chinese Plays. Indianapolis, IN:Hackett, 2010; Wilt L. Idema and Stephen H. West, The Orphan of Zhao and Other Yuan Plays:The Earliest Known Versions.New York:Columbia University Press, 2014.
(3)参见该书“致谢”与“序言”,第1页。
(4)英文原文如下:Their goal was to introduce readers to the fascinating works that should claim their rightful place in world theatre and world literature. See “Acknowledgement,” in The Columbia Anthology of Yuan Drama.
(1)英文原文如下:This volume is designed to introduce the reader to the first great flowering of drama in the Chinese tradition. See“Introduction,” The Columbia Anthology of Yuan Drama.
(2)英文原文如下:In an early draft of this volume, all the translations were based on Zang’s Anthology. In our revisions, we chose to use another Ming edition as the base text only in the case of Rescuing a Sister:since there are two good published translations of the play based on Anthology, it may be useful to highlight the more biting sarcasm of the version from Ancient Masters.…For the purpose of comparison, we have translated The Zhao Orphan from the Yuan Editions. Although it is customary to translate Chinese poetry as blank verse, in our revisions we have increase the use of rhymes whenever feasible in order to better convey the pathos or the comic potential. See “Introduction,” The Columbia Anthology of Yuan Drama.
(3)原文如下:They are, as has been said of the writings of the Scribes at the time of Our Lord, cold in manner, second-hand and iterative in their very essence; with no freshness in them, no force, no fire, servile to all authority, opposed to all independence;never passing a hair’s breadth beyond the carefully-watched boundary line of precedent; full of balanced inference and orthodox hesitancy, and impossible literalism; elevating mere memory above genius, and repetition above originality. Robert K. Douglas,“The Languasg and Literatuse of China,” two lectures delivered at the Royal Institution of Great Britain in May and June, 1875.
(4)原文如下:The Chinese are actors by nature, and are no doubt a good deal improved by their inherent cunning and want of sincerity, which make them quick of observation and fertile in resource, and in everyday life enable them easily to catch the tone of those with whom they associate, and on the stage to assume the characters they wish to represent.(Ibid.)此处言论与伏尔泰(Voltaire)在改编《赵氏遗孤》时的评价不符,即it was a “valuable monument of antiquity, and gives us more insight into the manners of China than all the histories which ever were, or ever will be written of that vast empire,” see Min Tian, The PoeticsofDifferenceandDisplacement:Twentieth-CenturyChinese-WesternInterculturalTheatre. Hong Kong:Hong Kong University Press, 2008, p. 21.see David Tod Roy,“Introduction,” in Hsiao-Hsiao-Sheng, The Plum in the Golden Vase or Chin P’ing Mei. Tr. David Tod Roy. Princeton, NJ:Princeton University Press,1993.另参见罗伯特·唐古拉斯撰,贾洪伟译:《中国的文学:英国皇家学院演讲录》,载《国际汉学》2016年第4期,第139—149页。
(1)有关编译的相关阐述,参见贾洪伟:《编译研究综述》,《上海翻译》2011年第1期,第17—20页;贾洪伟:《汉译国外普通语言学典籍研究(1906—1949)》,北京:首都师范大学出版社,2017年,第29—36页。
(2)民间力量指非政府力量,由企业、社会组织和个人构成,其中企业包括外资企业、外商投资企业、中外合资与合作企业、国企、央企、私企与民企,社会组织包括国际非政府组织和国内非政府组织,个人分为专业人士和非专业人士。有关民间力量的全面分析,详见《有关中国文化走出去视角下民间力量的几点思考》,第10—13页。
(1)Chen, Liana,“Book Review:The Columbia Anthology of Yuan Drama(2014),” The Journal of Asian Studies 74. 2(2015):466—467.
(2)I. A. Richards, Mencius on the Mind:Experiments in Multiple Definition. London:Kegan Paul, 1932.
(1)有关民间力量与政府宏观层面的外译信念问题,详见《中华文化典籍外译的推进路径研究》,第112—113页;《有关中国文化走出去视角下民间力量的几点思考》,第11—13页;《翻译符号学的信念界定问题》,第61—63页。