译出-译入模式下中国文学英译修改过程研究——以《海上花列传》英译为例
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摘要
本文聚焦张爱玲的《海上花列传》前两回英译和孔慧怡对其两次修订的痕迹,在构建翻译修订痕迹标注体系的基础上,从正文和注释两大方面对比三个文本的异同,概括并总结孔慧怡两次修订的内容和特征,以期探索文学英译由译出到译入模式的修改与蝶变过程,为中国文学更好地"走出去"提供些许借鉴。研究发现,在尊崇原文整体叙事结构和语义翻译架构基础上,修订的着力点更应该集中在对译文语篇功能的衔接、连贯与语言通俗性以及行文节奏韵律之上,同时要注重并构建英语的中国文学及文化系统。
The Sing-Song Girls of Shanghai, an English translation of a late-Qing Chinese novel, came out of the joint efforts by Eileen Chang, who provided "a very rough draft" of the English rendition, and Eva Hung, who offered two successive revisions of Chang's version and turned it into a fully publishable literary text in English. This paper looks into their productive "relay" by first setting up an interpretive frame within which the traces of Hung's revisions were marked systematically and categorized statistically. A comparison between Hung's two revisions follows, leading to the identification of their differences and similarities and the discovery of the thrust of Hung's revisionary efforts as well. While both revisions show respect for the overall structure of the original story and uphold the first translator's principle of semantic translation, they focus on improving the draft translation's readability and fluency by adding to its cohesion and coherence. An emphasis is also made throughout the process of revision on systematically constructing a general framework in which China's literature and culture are rendered accessible within the target language and culture.
The Sing-Song Girls of Shanghai, an English translation of a late-Qing Chinese novel, came out of the joint efforts by Eileen Chang, who provided "a very rough draft" of the English rendition, and Eva Hung, who offered two successive revisions of Chang's version and turned it into a fully publishable literary text in English. This paper looks into their productive "relay" by first setting up an interpretive frame within which the traces of Hung's revisions were marked systematically and categorized statistically. A comparison between Hung's two revisions follows, leading to the identification of their differences and similarities and the discovery of the thrust of Hung's revisionary efforts as well. While both revisions show respect for the overall structure of the original story and uphold the first translator's principle of semantic translation, they focus on improving the draft translation's readability and fluency by adding to its cohesion and coherence. An emphasis is also made throughout the process of revision on systematically constructing a general framework in which China's literature and culture are rendered accessible within the target language and culture.
引文
[1]高全之.张爱玲学[M].桂林:漓江出版社,2015.
[2]葛浩文.从美国军官到华文翻译家[M].台北:九哥出版社有限公司,2015.
[3]葛校琴.“信”有余而“达”未及-从夏志清改张爱玲英译说起[J].中国翻译,2013(1):76-79.
[4]胡适.海上花列传序[A].张爱玲(译).海上花开[M].北京:北京十月文艺出版社,2012:1-14.
[5]孔慧怡.翻译·文学·文化[M].北京:北京大学出版社,1999.
[6]孔慧怡.两个世界[A].含英咀华:中国英语女教授随笔[C].北京:外语教学与研究出版社,2000:1-27.
[7]林以亮.翻译《海上花》[A].金宏达(编).回望张爱玲:昨夜月色[C].北京:文化艺术出版社,2003:379-384.
[8]鲁迅.中国小说史略[M].上海:上海古籍出版社,2006.
[9]宋以朗.书信文稿中的张爱玲-2008年11月21日在香港浸会大学的演讲[J].中国现代文学研究丛刊,2009(4):143-159.
[10]夏志清.张爱玲给我的信件[M].武汉:长江文艺出版社,2014.
[11]许钧、宋学智.傅雷文学翻译的精神与艺术追求-以《都尔的本堂神甫》翻译手稿为例[J].外语教学与研究,2013(5):744-753.
[12]许诗焱.葛浩文翻译再审视-基于翻译过程的评价视角[J].中国翻译,2016a(5):88-92.
[13]许诗焱.基于翻译过程的葛浩文翻译研究-以《干校六记》英译本的翻译过程为例[J].外国语,2016b(5):95-103.
[14]许诗焱、许多.译者-作者互动与翻译过程[J].外语教学与研究,2018(3):441-450.
[15]王德威.代跋-“信”的伦理学[A].夏志清(编注).张爱玲给我的信件[M].武汉:长江文艺出版社,2014:350-357.
[16]王克非等.双语对应语料库:研制与应用[M].北京:外语教学与研究出版社,2004.
[17]杨惠中、桂诗春、杨达复.基于CLEC语料库的中国学习者英语分析[M].上海:上海外语教育出版社,2005.
[18]张爱玲.忆胡适之[A].张爱玲典藏全集6(散文卷4)[C].哈尔滨:哈尔滨出版社,2003.
[19]张爱玲(译).海上花开(落)[M].北京:北京十月文艺出版社,2012.
[20]张汨、文军.朱生豪翻译手稿描写性研究-以《仲夏夜之梦》为例研究[J].外语与外语教学,2016(3):120-128.
[21]朱纯深(译).自深深处[M].南京:译林出版社,2008.
[22]Chang,E.(trs.).Sing-song Girls of Shanghai[J].Renditions,1982(Spring&Autumn):95-110.
[23]Chang,E.&Hung,E.(trs.).Shanghai Demi-monde:Chapters I and II[J].Renditions,2002(Autumn):98-116.
[24]Chang,E.&Hung,E.(trs.).The Sing-song Girls of Shanghai[M].New York:Columbia University Press,2005.
[25]Halliday,M.A.K.An Introduction to Functional Grammar[M].Beijing:Foreign Language Teaching and Research Press,2012.
[26]Holmes,J.S.The Name and Nature of Translation Studies[A].In Venuti L.(ed.).The Translation Studies Reader[C].London/New York:Routledge,2000:172-185.
[27]Hung,E.Introductory Note[A].In Chang,E.&E.Hung(trs.).Shanghai Demi-monde:Chapters I and II[J].Renditions,2002(Autumn):98-99.
[28]Hung,E.Afterword[A].In Chang,E.&E.Hung(trs.).The Sing-song Girls of Shanghai[M].New York:Columbia University Press,2005:529-534.
[29]Munday,J.Evaluation in Translation:Critical Points of Translator Decision-making[M].London&New York:Routledge,2012.
[30]Munday,J.The role of archival and manuscript research in the investigation of translator decision-making[J].Target,2013,25(1):125-139.
[31]Munday,J.Using primary sources to produce a microhistory of translation and translators:Theoretical and methodological concerns[J].The Translator,2014,20(1):64-80.
[32]Mossop,B.Revising and Editing for Translators[M].Manchester/Northampton:St.Jerome Publishing,2001.
[33]Mossop,B.Empirical studies of revision:What we know and need to know[J].The Journal of Specialized Translation,2007(8):5-20.
[34]Toury,G.A Rationale for Descriptive Translation Studies[A].In Theo Hermans(ed.).The Manipulation of Literature:Studies in Literary Translation[C].New York:St Martins Press,1985:16-41.
[35]Wang,D.Foreword[A].In Chang,E.&E.Hung(trs.).The Singsong Girls of Shanghai[M].New York:Columbia University Press,2005:ix-xx.
(1)《忆胡适之》一文原载于1968年香港《明报》,文中撰写“直到去年,我想译《海上花》”,因此,“去年”应指1967年。
(2)又作“蒲丽琳”。
(3)本文的例子均取自Chang(1982)、Change&Hung(2002)和Change&Hung(2005),在文中分别简写为Z、H1和H2。
[2]葛浩文.从美国军官到华文翻译家[M].台北:九哥出版社有限公司,2015.
[3]葛校琴.“信”有余而“达”未及-从夏志清改张爱玲英译说起[J].中国翻译,2013(1):76-79.
[4]胡适.海上花列传序[A].张爱玲(译).海上花开[M].北京:北京十月文艺出版社,2012:1-14.
[5]孔慧怡.翻译·文学·文化[M].北京:北京大学出版社,1999.
[6]孔慧怡.两个世界[A].含英咀华:中国英语女教授随笔[C].北京:外语教学与研究出版社,2000:1-27.
[7]林以亮.翻译《海上花》[A].金宏达(编).回望张爱玲:昨夜月色[C].北京:文化艺术出版社,2003:379-384.
[8]鲁迅.中国小说史略[M].上海:上海古籍出版社,2006.
[9]宋以朗.书信文稿中的张爱玲-2008年11月21日在香港浸会大学的演讲[J].中国现代文学研究丛刊,2009(4):143-159.
[10]夏志清.张爱玲给我的信件[M].武汉:长江文艺出版社,2014.
[11]许钧、宋学智.傅雷文学翻译的精神与艺术追求-以《都尔的本堂神甫》翻译手稿为例[J].外语教学与研究,2013(5):744-753.
[12]许诗焱.葛浩文翻译再审视-基于翻译过程的评价视角[J].中国翻译,2016a(5):88-92.
[13]许诗焱.基于翻译过程的葛浩文翻译研究-以《干校六记》英译本的翻译过程为例[J].外国语,2016b(5):95-103.
[14]许诗焱、许多.译者-作者互动与翻译过程[J].外语教学与研究,2018(3):441-450.
[15]王德威.代跋-“信”的伦理学[A].夏志清(编注).张爱玲给我的信件[M].武汉:长江文艺出版社,2014:350-357.
[16]王克非等.双语对应语料库:研制与应用[M].北京:外语教学与研究出版社,2004.
[17]杨惠中、桂诗春、杨达复.基于CLEC语料库的中国学习者英语分析[M].上海:上海外语教育出版社,2005.
[18]张爱玲.忆胡适之[A].张爱玲典藏全集6(散文卷4)[C].哈尔滨:哈尔滨出版社,2003.
[19]张爱玲(译).海上花开(落)[M].北京:北京十月文艺出版社,2012.
[20]张汨、文军.朱生豪翻译手稿描写性研究-以《仲夏夜之梦》为例研究[J].外语与外语教学,2016(3):120-128.
[21]朱纯深(译).自深深处[M].南京:译林出版社,2008.
[22]Chang,E.(trs.).Sing-song Girls of Shanghai[J].Renditions,1982(Spring&Autumn):95-110.
[23]Chang,E.&Hung,E.(trs.).Shanghai Demi-monde:Chapters I and II[J].Renditions,2002(Autumn):98-116.
[24]Chang,E.&Hung,E.(trs.).The Sing-song Girls of Shanghai[M].New York:Columbia University Press,2005.
[25]Halliday,M.A.K.An Introduction to Functional Grammar[M].Beijing:Foreign Language Teaching and Research Press,2012.
[26]Holmes,J.S.The Name and Nature of Translation Studies[A].In Venuti L.(ed.).The Translation Studies Reader[C].London/New York:Routledge,2000:172-185.
[27]Hung,E.Introductory Note[A].In Chang,E.&E.Hung(trs.).Shanghai Demi-monde:Chapters I and II[J].Renditions,2002(Autumn):98-99.
[28]Hung,E.Afterword[A].In Chang,E.&E.Hung(trs.).The Sing-song Girls of Shanghai[M].New York:Columbia University Press,2005:529-534.
[29]Munday,J.Evaluation in Translation:Critical Points of Translator Decision-making[M].London&New York:Routledge,2012.
[30]Munday,J.The role of archival and manuscript research in the investigation of translator decision-making[J].Target,2013,25(1):125-139.
[31]Munday,J.Using primary sources to produce a microhistory of translation and translators:Theoretical and methodological concerns[J].The Translator,2014,20(1):64-80.
[32]Mossop,B.Revising and Editing for Translators[M].Manchester/Northampton:St.Jerome Publishing,2001.
[33]Mossop,B.Empirical studies of revision:What we know and need to know[J].The Journal of Specialized Translation,2007(8):5-20.
[34]Toury,G.A Rationale for Descriptive Translation Studies[A].In Theo Hermans(ed.).The Manipulation of Literature:Studies in Literary Translation[C].New York:St Martins Press,1985:16-41.
[35]Wang,D.Foreword[A].In Chang,E.&E.Hung(trs.).The Singsong Girls of Shanghai[M].New York:Columbia University Press,2005:ix-xx.
(1)《忆胡适之》一文原载于1968年香港《明报》,文中撰写“直到去年,我想译《海上花》”,因此,“去年”应指1967年。
(2)又作“蒲丽琳”。
(3)本文的例子均取自Chang(1982)、Change&Hung(2002)和Change&Hung(2005),在文中分别简写为Z、H1和H2。