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.
引文
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(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。