文学译介与中国文学“走向世界”
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摘要
主动对外翻译中国文学的活动自晚清时期便已经开始。1949年中华人民共和国建国之前,个人翻译方式成为中国文学“走向世界”的主导模式。之后,由中国国家对外宣传机构主持的对外翻译项目开始大规模、有系统地主动对外译介中国文学。1981年,中国外文出版发行事业局(外文局)下属中国文学杂志社负责翻译出版“熊猫丛书”,意图通过翻译将中国文学和文化(重点是现当代文学)译介至西方主要国家,以扩大中国文学在世界的影响。至此,国家机构对外译介成为中国文学“走向世界”的主要渠道和方式。然而2000年,中国文学出版社被撤销,《中国文学》杂志停刊,“熊猫丛书”也几近停办。现实表明,国家机构对外翻译的译本接受不佳,对外译介事业遭遇了前所未有的困境。本文从译介学及文化学派的翻译理论出发,以“熊猫丛书”为描述和分析对象,深入探索国家机构对外主动译介中国文学所涉及的理论和实践难题,以回应当前国家提出的中国文化“走出去”战略,为促进中国文学更好地对外传播提供理论支持和实践意见。本文自始至终坚持译介学的理论立场,将“熊猫丛书”的译介实践视作“文学交流、文学影响和文学传播”行为,即文学译介行为,而不是简单的文字或文学翻译活动。单纯从语言翻译的角度思考这一问题并无法根本解决中国文学对外译介效果不佳这一难题。因为语言翻译过程不是整个文学译介过程的全部,在它之前还有选择什么来译的问题,在它之后还有译本如何流传、阅读与阐释的问题。从根本上讲,真正影响甚至左右“熊猫丛书”域外接受效果的要素来自目标语文化系统内部的“意识形态、诗学和赞助人”等方面。这便是本文第一章绪论的内容。
本文第二章将“熊猫丛书”的翻译活动置于本土文化语境之内,全面考察作为文化生产的“熊猫丛书”在1980年代的历史语境中与各种话语实践之间的复杂关系,理清丛书出版的来龙去脉及隐藏的多重目的。显然,“熊猫丛书”出版的根本动机来自本土文化语境。国家外宣机构意欲借文学译介重新塑造崭新的国家形象,为改革开放和社会主义现代化建设创造良好的外部环境;精英知识分子参与译介是为了在新的时代塑造自我的文化和文学身份。在80年代的特殊历史语境下,后者利用主流意识形态改革所提供的空间努力通过译本选择和翻译来表达自己对纯文学的追求,从一个方面体现了文学摆脱政治束缚的渴望。两者之间既有合作,同时也少不了摩擦和冲突。这表明,即便是国家外宣机构主持的对外译介项目,它也不全是服务主流意识形态的召唤,纯粹是政治宣传。丛书在可能允许的有限空间内表达着精英知识分子对文学性的诉求。
在充分描述与分析“熊猫丛书”的本土文化生产后,第三章转向对“熊猫丛书”域外文学场域内传播的研究。本章的目的在于通过追踪“熊猫丛书”译本在英美两国文学场域中的传播,研究影响丛书接受的众多因素。在引入布迪厄社会学理论的“场域”与“资本”概念后,本章追溯了从1981年至1989年“熊猫丛书”在英美文化/文学场域中的传播情况。现有的数据表明,“熊猫丛书”的少量译本在英美读者当中产生了反响,英美主流报刊杂志(包括专业刊物在内)对丛书进行了评论。接下来,本章着重分析了影响“熊猫丛书”在英美读者中接受和阅读的主要因素,结果发现在整个80年代,英美读者在阅读“熊猫丛书”所代表的中国现当代文学时采取了政治的审美视角。之所以说是“政治”的,原因在于包括专业研究者在内的读者更青睐小说主题与政治或文革叙事相关的作品,相对忽略作品形式上的文学性;一般读者则倾向于从社会学视角阅读中国文学,并钟情小说中的“苦难叙事”。之所以说是“审美”的,原因在于一些读者以西方文学典律为标准来衡量中国文学在美学上的表现,认为中国现当代文学并不成熟。但毋庸置疑,以西方文学的诗学标准来判断中国文学的做法自身就体现了某种政治性或意识形态的意图。如果“熊猫丛书”的译本符合上述政治的审美视角,作品一般会得到很好的接受;而大部分译本的默默无闻也与此有因果上的联系。
第四章继续探讨“熊猫丛书”从1989年春夏的政治风波之后至2009年之间在英美文化场域中的传播情况。1989年发生的政治风波对“熊猫丛书”的冲击体现在一定时期内相当程度上改变了中国文学在英美文化场域传播的内容。首先,它强化了西方国家对中国所谓“极权社会”的政治想象,或多或少增加了持不同政见者的文化资本。其次,它强化了英美民众普遍存在的对中国“极权政府”形象的想象,这种氛围进而刺激了英美图书出版商在选择翻译出版中国文学作品的时候采取保守与迎合的态度,选择那些能够反映、批判并讽刺中国“极权政治”的作品,而不太考虑文学作品的文学性价值。再次,1989年的政治风波之后,西方读者包括专业研究者普遍对中国官方意识形态持警觉态度,并开始质疑官方所指定和推出的文学作品和作家。“熊猫丛书”正好属于国家外宣机构主持的译介项目,受到国外研究者的质疑也毫不奇怪。最后,“熊猫丛书”的负责人杨宪益先生因学潮期间的言行被调离工作岗位,丛书在90年代的出版日趋保守,选材尽量避免在政治方面与主流意识形态发生紧张和冲突。这一切都对“熊猫丛书”的域外接受不利。整个90年代“熊猫丛书”面临前所未有的困境,在英美国家很难再吸引读者的注意,发行量日渐减少,处于长期亏损的状态。与丛书出版的第一个十年相比,“熊猫丛书”在这一时期的英美读者中没有产生多大反响。进入新世纪后,即便英美国家对中国文学的兴趣持续升温,“熊猫丛书”也尝试拓宽生存渠道,可仍然无法扭转不利局面,最终走向历史的记忆深处。
上述分析表明,国家机构对外译介以本土需求为基本动力,发出方除了可以在选材及翻译质量等少数方面能有所作为之外,译本能否受到欢迎在很大程度上取决于接受方对译本的选择性阐释和接受。如果发出方推出的译本与接受方读者的期待视野产生偏差甚或冲突,译本很有可能不会产生任何反响。这种冲突既可能源自双方在意识形态上的不同,也可能源自双方在诗学和赞助人方面的差异。面对译本如此复杂的接受语境,发出方企图单单从控制译本质量入手实现译本的良好接受,这是难以实现的。据此,我们应该充分认识到,通过翻译将中国文学推向世界,从本质上而言是文学译介,而不是简单的文字或文学翻译。整个译介过程不仅要考虑译本选材、翻译方法、营销策略等内容,更需要时刻注意目标语文化系统内部的政治、经济和文化语境。只有充分考虑上述因素,在对外译介的过程中注意翻译选材和译介渠道的多样化,翻译方法和译介策略的灵活性,才可能更有效地使中国文学“走出去”。
From the last decades of Qing Dynasty to the foundation of the People’s Republic of China in 1949, few Chinese people attempted to get Chinese literature“walk toward the world”via translation. After 1949, the Foreign Language Bureau, a government-manipulated institute, took the lead in translating Chinese literature to the outside world in a large and systemic scale. In 1981, the Panda Books Series was initiated by Chinese Literature Press, a branch under the leadership of China International Publishing Group (the Foreign Language Bureau its antecedent), to enable a wide dissemination of both Chinese literature and culture among major western countries through translation, in which modern and contemporary Chinese novels were given a top priority. Since then, governmental institutes played a dominant role in making Chinese literature“walk toward the world”, however, whether such practice can be successful remains to be questioned, especially when Chinese Literature Press, opened in 1987 to take a full charge of the translation and publication of the Panda Books Series, was closed in 2000 for a couple of problems, with its financial crisis in book marketing as one. It is obvious that the project of translating Chinese literature to foreign countries by governmental institutes meets an unprecedented dilemma, which calls for a systemic analysis from empirical and theoretical perspectives. The dissertation, taking the Panda Books Series characteristic of institutional translation project as its research object, attempts to probe into the theoretical and empirical mechanisms in translating Chinese literature by governmental institutes from the perspectives of medio-translatology and newly-developed theories in Translation Studies. As a positive response to the national strategy of introducing Chinese culture to foreign countries, the study will further provide a series of suggestions over how to better disseminate Chinese literature globally. Judged from medio-translatology and newly-developed theories in Translation Studies, the practice of Panda Books Series for actual fact can be viewed more as a quintessence of literary communication, influence and dissemination than a simple lingual translation. To ensure a better distribution and dissemination of Chinese literature in western countries, we had better take the whole translation process into consideration because besides the lingual translation from the original text to the target, what really counts here is a couple of questions to be answered like what texts according to which criteria are selected, for whom the texts are translated and how they are read and interpreted by the target readers. To be specific, the tri-causes of“ideology, poetics and patronage”in the target culture will, to a large extent, determine how the Panda Books Series is received.
Based on the above-mentioned Introduction, Chapter Two aims to examine the Panda Books Series as a type of domestic cultural production in its 1980s context, in which other discourses praxis joined so as to complicate the book series’motives. Generally speaking, the Panda Books Series was an original-culture-oriented project that was launched by the state to maintain a friendly relationship with foreign countries by reshaping a new image of the state with translating Chinese literature. Besides, the elite intellectuals then actively engaged themselves in such a state-manipulated project with a hope to pursue their dream of literary autonomy free of political interference, thereafter to shape their cultural identities. In such a translation project pregnant with ideologies, both sides more or less appear either cooperative or oppositional. It is true that making use of the reforms carried on by the dominant ideology, the elite intellectuals can modestly express their own aesthetical interests within certain limits, which proves that even a governmental institute initiated translation project can harbor different voices in a partly harmonious way.
In Chapter Three, our focus shifts from domestic production to the book series’distribution and reception in the USA and the UK. By introducing Pierre Bourdie’s concepts of“field”and“capital”, the chapter tries to have a panoramic view of the Panda Books Series’distribution and reception in the cultural and literary fields in the two countries. The relevant data shows that from 1981 to 1989, only a few translations from the book series enjoyed a better reception among readers from the two above-mentioned countries. Book reviews and articles on the book series appear frequently in some important journals and newspapers, such as New York Times Book Review and World Literature Today, to name just two. In the reading of modern and contemporary Chinese literature, including the Panda Book Series, foreign readers prefer interpreting the novels from a politically aesthetic perspective, by which means some of the readers expect to read narrations concerning either politics or cultural revolution, thus to some extent neglecting the aesthetic novelties; whereas other readers tend to appreciate Chinese literature from western poetics based upon western canons, but to find that Chinese literature is by comparison immature aesthetically. Nevertheless, such practice of interpreting Chinese literature, for actual fact, implies that it smells of something ideological in aesthetical judgment. It can be asserted that if some translations from the Panda Books Series can be read in accordance with the politically aesthetic perspective, the translations will be warmly accepted, or they are woefully overlooked by western readers.
As in Chapter Three, Chapter Four tries to draw a full picture of the book series’distribution in the next ten years from the“June Forth Event”in 1989 to 2000. The“June Forth Event”had a great impact on the distribution of Chinese literature in the cultural and literary fields in the USA and the UK. First, after the political event, western countries tented to imagine China as a“totalitarian society”with no freedom and human rights, as a result to increase the cultural capitals shared by those dissident writers from China. Second, the event itself drove the general public in the west to view Chinese government a political regime, which in turn encourages the publishers in the west to try every means to cater to western readers’political and literary imagination. Novels with symbolic and allegorical parodies will be comparatively welcomed warmly, whereas the aesthetic readings of Chinese novels are overlooked. Third, right after the“June Fourth”event, western readers including professional readers began to question the selection lists of works and writers advertised by Chinese official institutes, among which China International Publishing Group, responsible for the publication and translation of the Panda Books Series, was affected. Finally, after the“June Fourth”event, Yang Xianyi, who took charge of the book series, was forced to leave the general editor’s post, for what he has done during the Students’Movement in 1989. Without his effort, the Panda Books Series published through the whole 1990s appear to be more conservative in its book selection, in order to avoid a tension with the Bureau’s party cadres. The above-mentioned factors join together to get the book series to decline in marketing overseas. It can no longer appeal to western readers, who came to realize how to get what they want through other medias, like touring, visiting, watching films and Telecommunications, to name a few. Under such new circumstances, the Panda Books Series was finally ended in a failure, though it attempted every means possible to get out of the dilemma after 2000.
The above analysis leads to the following conclusions. First, the state-institute manipulated translation project is generally speaking source-oriented. The sender countries can have fewer choices in controlling the reception of translations, because translated texts need to be read and interpreted by readers from the receiving countries. Second, if translated texts run against its receivers’expectation, they will not be better received. Third, the reasons why a translation is badly received can be ideological, poetical and economic. Taking the three points into consideration, we need to realize that the translating project like the Panda Books Series involves not only linguistic transfer from original language to target language, but also cultural communication. During the whole translation process, our attention must be paid to the ideology, poetics and patronage in the target system. With those points in mind, we can better get Chinese literature“Walk Outside of China”, if we persist in cooperating actively with others and finding more different methods of introducing Chinese literature into other countries.
本文第二章将“熊猫丛书”的翻译活动置于本土文化语境之内,全面考察作为文化生产的“熊猫丛书”在1980年代的历史语境中与各种话语实践之间的复杂关系,理清丛书出版的来龙去脉及隐藏的多重目的。显然,“熊猫丛书”出版的根本动机来自本土文化语境。国家外宣机构意欲借文学译介重新塑造崭新的国家形象,为改革开放和社会主义现代化建设创造良好的外部环境;精英知识分子参与译介是为了在新的时代塑造自我的文化和文学身份。在80年代的特殊历史语境下,后者利用主流意识形态改革所提供的空间努力通过译本选择和翻译来表达自己对纯文学的追求,从一个方面体现了文学摆脱政治束缚的渴望。两者之间既有合作,同时也少不了摩擦和冲突。这表明,即便是国家外宣机构主持的对外译介项目,它也不全是服务主流意识形态的召唤,纯粹是政治宣传。丛书在可能允许的有限空间内表达着精英知识分子对文学性的诉求。
在充分描述与分析“熊猫丛书”的本土文化生产后,第三章转向对“熊猫丛书”域外文学场域内传播的研究。本章的目的在于通过追踪“熊猫丛书”译本在英美两国文学场域中的传播,研究影响丛书接受的众多因素。在引入布迪厄社会学理论的“场域”与“资本”概念后,本章追溯了从1981年至1989年“熊猫丛书”在英美文化/文学场域中的传播情况。现有的数据表明,“熊猫丛书”的少量译本在英美读者当中产生了反响,英美主流报刊杂志(包括专业刊物在内)对丛书进行了评论。接下来,本章着重分析了影响“熊猫丛书”在英美读者中接受和阅读的主要因素,结果发现在整个80年代,英美读者在阅读“熊猫丛书”所代表的中国现当代文学时采取了政治的审美视角。之所以说是“政治”的,原因在于包括专业研究者在内的读者更青睐小说主题与政治或文革叙事相关的作品,相对忽略作品形式上的文学性;一般读者则倾向于从社会学视角阅读中国文学,并钟情小说中的“苦难叙事”。之所以说是“审美”的,原因在于一些读者以西方文学典律为标准来衡量中国文学在美学上的表现,认为中国现当代文学并不成熟。但毋庸置疑,以西方文学的诗学标准来判断中国文学的做法自身就体现了某种政治性或意识形态的意图。如果“熊猫丛书”的译本符合上述政治的审美视角,作品一般会得到很好的接受;而大部分译本的默默无闻也与此有因果上的联系。
第四章继续探讨“熊猫丛书”从1989年春夏的政治风波之后至2009年之间在英美文化场域中的传播情况。1989年发生的政治风波对“熊猫丛书”的冲击体现在一定时期内相当程度上改变了中国文学在英美文化场域传播的内容。首先,它强化了西方国家对中国所谓“极权社会”的政治想象,或多或少增加了持不同政见者的文化资本。其次,它强化了英美民众普遍存在的对中国“极权政府”形象的想象,这种氛围进而刺激了英美图书出版商在选择翻译出版中国文学作品的时候采取保守与迎合的态度,选择那些能够反映、批判并讽刺中国“极权政治”的作品,而不太考虑文学作品的文学性价值。再次,1989年的政治风波之后,西方读者包括专业研究者普遍对中国官方意识形态持警觉态度,并开始质疑官方所指定和推出的文学作品和作家。“熊猫丛书”正好属于国家外宣机构主持的译介项目,受到国外研究者的质疑也毫不奇怪。最后,“熊猫丛书”的负责人杨宪益先生因学潮期间的言行被调离工作岗位,丛书在90年代的出版日趋保守,选材尽量避免在政治方面与主流意识形态发生紧张和冲突。这一切都对“熊猫丛书”的域外接受不利。整个90年代“熊猫丛书”面临前所未有的困境,在英美国家很难再吸引读者的注意,发行量日渐减少,处于长期亏损的状态。与丛书出版的第一个十年相比,“熊猫丛书”在这一时期的英美读者中没有产生多大反响。进入新世纪后,即便英美国家对中国文学的兴趣持续升温,“熊猫丛书”也尝试拓宽生存渠道,可仍然无法扭转不利局面,最终走向历史的记忆深处。
上述分析表明,国家机构对外译介以本土需求为基本动力,发出方除了可以在选材及翻译质量等少数方面能有所作为之外,译本能否受到欢迎在很大程度上取决于接受方对译本的选择性阐释和接受。如果发出方推出的译本与接受方读者的期待视野产生偏差甚或冲突,译本很有可能不会产生任何反响。这种冲突既可能源自双方在意识形态上的不同,也可能源自双方在诗学和赞助人方面的差异。面对译本如此复杂的接受语境,发出方企图单单从控制译本质量入手实现译本的良好接受,这是难以实现的。据此,我们应该充分认识到,通过翻译将中国文学推向世界,从本质上而言是文学译介,而不是简单的文字或文学翻译。整个译介过程不仅要考虑译本选材、翻译方法、营销策略等内容,更需要时刻注意目标语文化系统内部的政治、经济和文化语境。只有充分考虑上述因素,在对外译介的过程中注意翻译选材和译介渠道的多样化,翻译方法和译介策略的灵活性,才可能更有效地使中国文学“走出去”。
From the last decades of Qing Dynasty to the foundation of the People’s Republic of China in 1949, few Chinese people attempted to get Chinese literature“walk toward the world”via translation. After 1949, the Foreign Language Bureau, a government-manipulated institute, took the lead in translating Chinese literature to the outside world in a large and systemic scale. In 1981, the Panda Books Series was initiated by Chinese Literature Press, a branch under the leadership of China International Publishing Group (the Foreign Language Bureau its antecedent), to enable a wide dissemination of both Chinese literature and culture among major western countries through translation, in which modern and contemporary Chinese novels were given a top priority. Since then, governmental institutes played a dominant role in making Chinese literature“walk toward the world”, however, whether such practice can be successful remains to be questioned, especially when Chinese Literature Press, opened in 1987 to take a full charge of the translation and publication of the Panda Books Series, was closed in 2000 for a couple of problems, with its financial crisis in book marketing as one. It is obvious that the project of translating Chinese literature to foreign countries by governmental institutes meets an unprecedented dilemma, which calls for a systemic analysis from empirical and theoretical perspectives. The dissertation, taking the Panda Books Series characteristic of institutional translation project as its research object, attempts to probe into the theoretical and empirical mechanisms in translating Chinese literature by governmental institutes from the perspectives of medio-translatology and newly-developed theories in Translation Studies. As a positive response to the national strategy of introducing Chinese culture to foreign countries, the study will further provide a series of suggestions over how to better disseminate Chinese literature globally. Judged from medio-translatology and newly-developed theories in Translation Studies, the practice of Panda Books Series for actual fact can be viewed more as a quintessence of literary communication, influence and dissemination than a simple lingual translation. To ensure a better distribution and dissemination of Chinese literature in western countries, we had better take the whole translation process into consideration because besides the lingual translation from the original text to the target, what really counts here is a couple of questions to be answered like what texts according to which criteria are selected, for whom the texts are translated and how they are read and interpreted by the target readers. To be specific, the tri-causes of“ideology, poetics and patronage”in the target culture will, to a large extent, determine how the Panda Books Series is received.
Based on the above-mentioned Introduction, Chapter Two aims to examine the Panda Books Series as a type of domestic cultural production in its 1980s context, in which other discourses praxis joined so as to complicate the book series’motives. Generally speaking, the Panda Books Series was an original-culture-oriented project that was launched by the state to maintain a friendly relationship with foreign countries by reshaping a new image of the state with translating Chinese literature. Besides, the elite intellectuals then actively engaged themselves in such a state-manipulated project with a hope to pursue their dream of literary autonomy free of political interference, thereafter to shape their cultural identities. In such a translation project pregnant with ideologies, both sides more or less appear either cooperative or oppositional. It is true that making use of the reforms carried on by the dominant ideology, the elite intellectuals can modestly express their own aesthetical interests within certain limits, which proves that even a governmental institute initiated translation project can harbor different voices in a partly harmonious way.
In Chapter Three, our focus shifts from domestic production to the book series’distribution and reception in the USA and the UK. By introducing Pierre Bourdie’s concepts of“field”and“capital”, the chapter tries to have a panoramic view of the Panda Books Series’distribution and reception in the cultural and literary fields in the two countries. The relevant data shows that from 1981 to 1989, only a few translations from the book series enjoyed a better reception among readers from the two above-mentioned countries. Book reviews and articles on the book series appear frequently in some important journals and newspapers, such as New York Times Book Review and World Literature Today, to name just two. In the reading of modern and contemporary Chinese literature, including the Panda Book Series, foreign readers prefer interpreting the novels from a politically aesthetic perspective, by which means some of the readers expect to read narrations concerning either politics or cultural revolution, thus to some extent neglecting the aesthetic novelties; whereas other readers tend to appreciate Chinese literature from western poetics based upon western canons, but to find that Chinese literature is by comparison immature aesthetically. Nevertheless, such practice of interpreting Chinese literature, for actual fact, implies that it smells of something ideological in aesthetical judgment. It can be asserted that if some translations from the Panda Books Series can be read in accordance with the politically aesthetic perspective, the translations will be warmly accepted, or they are woefully overlooked by western readers.
As in Chapter Three, Chapter Four tries to draw a full picture of the book series’distribution in the next ten years from the“June Forth Event”in 1989 to 2000. The“June Forth Event”had a great impact on the distribution of Chinese literature in the cultural and literary fields in the USA and the UK. First, after the political event, western countries tented to imagine China as a“totalitarian society”with no freedom and human rights, as a result to increase the cultural capitals shared by those dissident writers from China. Second, the event itself drove the general public in the west to view Chinese government a political regime, which in turn encourages the publishers in the west to try every means to cater to western readers’political and literary imagination. Novels with symbolic and allegorical parodies will be comparatively welcomed warmly, whereas the aesthetic readings of Chinese novels are overlooked. Third, right after the“June Fourth”event, western readers including professional readers began to question the selection lists of works and writers advertised by Chinese official institutes, among which China International Publishing Group, responsible for the publication and translation of the Panda Books Series, was affected. Finally, after the“June Fourth”event, Yang Xianyi, who took charge of the book series, was forced to leave the general editor’s post, for what he has done during the Students’Movement in 1989. Without his effort, the Panda Books Series published through the whole 1990s appear to be more conservative in its book selection, in order to avoid a tension with the Bureau’s party cadres. The above-mentioned factors join together to get the book series to decline in marketing overseas. It can no longer appeal to western readers, who came to realize how to get what they want through other medias, like touring, visiting, watching films and Telecommunications, to name a few. Under such new circumstances, the Panda Books Series was finally ended in a failure, though it attempted every means possible to get out of the dilemma after 2000.
The above analysis leads to the following conclusions. First, the state-institute manipulated translation project is generally speaking source-oriented. The sender countries can have fewer choices in controlling the reception of translations, because translated texts need to be read and interpreted by readers from the receiving countries. Second, if translated texts run against its receivers’expectation, they will not be better received. Third, the reasons why a translation is badly received can be ideological, poetical and economic. Taking the three points into consideration, we need to realize that the translating project like the Panda Books Series involves not only linguistic transfer from original language to target language, but also cultural communication. During the whole translation process, our attention must be paid to the ideology, poetics and patronage in the target system. With those points in mind, we can better get Chinese literature“Walk Outside of China”, if we persist in cooperating actively with others and finding more different methods of introducing Chinese literature into other countries.
引文
3胡志挥,谁来向国外译介中国作品?-为我国英语编译水准一辩,《中华读书报》2003年1月29号。
4肖惊鸿,把中国文学推向世界——经济全球化语境下中国文学译介的现状和问题,《文艺报》,2003年4月17号,第1版。
1王勇,中国文学译介阵地丢失的文化反思与对策,《许昌学院学报》,2003年第6期,第73-74页。
2潘文国,译入与译出——谈中国译者从事汉籍英译的意义,《中国翻译》2004年第2期,第40-43页。潘文国,中籍外译,此其时也——关于中译外问题的宏观思考,《杭州师范学院学报》(社会科学版),2007年第6期,第30-36页。
3徐慎贵,中国文学出版社“熊猫丛书”简况,《青山在》,2005年第4期,第19-21页。以及徐慎贵,《中国文学》对外传播的历史贡献,《对外大传播》,2007年第8期,第46-49页。
4谢天振,谁来向世界译介中国文学和中国文化?,《文景》,2005年第5期,第20-23页。谢天振,中国文化如何走出去,《文汇读书周报》,2008年8月5号。
5胡德香,对译入译出的文化思考,《湖南大学学报》(人文社会科学版),2006年第3期,第355-359页。
6王恩冕,从母语译入外语:东亚三国的经验对比,《中国翻译》2008年第1期,第72-75页。
7唐述宗、何琼,文化全球化背景下的“东学西渐”——寻求与西方文明的平等对话,《中国科技翻译》,2008年第2期,第33-37页。
8杨宪益先生的辞世可以说引发了一场对中国文学和文化怎样走出去的反思,比较有代表性的文章有:刘建林,文学翻译不宜“专业化”,《光明日报》,2009年12月3号。任珊珊,听两家出版社负责人说困境:中国图书为何难行海外路,《人民日报》,2009年12月3号。董阳,文化传播中的“斯诺”在哪里,《人民日报》,2009年12月4号。谢天振、龚丹韵,杨宪益身后的思考:中国文化如何全球传播,《解放日报》,2009年12月4号。何家干,杨宪益旧体诗与愤世的无奈,《东方早报》,2009年12月4号。傅小平,翻译家杨宪益辞世引发思考“中国文化如何走出去?”,《文学报》,2009年12月3号。谢天振,今天,我们该如何纪念杨宪益先生?,《东方翻译》,2010年第1期,第4-9页。
9转引自曾朴给胡适的信,曾先生答书,载《胡适文存三集》(卷八),黄山书社,1996年,第559-566页。
10晚清政治家、著名学者,中学西传第一人,通过翻译与著述,“将中国文化、文学直接传播给西方读者,其中不少内容是首次介绍到西方”(李华川,陈季同生平史事考,《清史论丛》,2002年号,总第17期,第149-168页。),改变了西方人对中国文化的偏见,为中西文化交流做出了开创性的贡献。
11岳峰,东学西渐第一人——被遗忘的翻译家陈季同,《中国翻译》,2001年第4期,第54-57页。
1陈季同,古典诗歌,载《中国人自画像》,段映红译,广西师范大学出版社,2006年,第125-153页。
2曾朴,曾先生答书,载《胡适文存三集》(卷八),黄山书社,1996年,第559-566页。
3同上。
4儒家经典虽然有的包含了文学性因素,但基本与纯文学作品有异。
5辜鸿铭所著The Spirit of the Chinese People(《春秋大义》)主要向西方人介绍中国文化,顺带翻译了中国古典文学。
6辜鸿铭译《论语》和《中庸》实为了向西方宣传孔孟之道,他坚信“异日世界之争必烈,微中国礼教不能弭此祸也。”(赵尔巽等撰,《清史稿列传》(六,卷四五七至卷四八六),列传二百七十三,文苑三,明文书局印行,页一三四四九,1986年。)
7同期(清末民初)的创作作品为1531种,而翻译作品达1101种。数据来自(日)樽本照雄,反映时代的小说目录——关于《新编清末民初小说目录》,载《增补新编清末民初小说目录》,齐鲁书社,2002年,第2页。
1戈宝权,《〈阿Q正传〉在国外》,人民文学出版社,1981年,第20页。
2王际真(Chi-Chen Wang, 1899-?),字稚臣,原籍山东省桓台县,是第一位将中国古典小说《红楼梦》翻译成英文的华人,早年毕业于留美预备学堂,1922年赴美留学,后一生时间大都在美度过。
3萧乾,斯诺与中国新文艺运动——本版代序,《活的中国》,埃德加·斯诺编,湖南人民出版社,1983年,第1页。或参考萧乾,斯诺与中国新文艺运动——记《活的中国》,《新文学史料》,1978年第1期,第213-220页。
4符家钦,《记萧乾》,时事出版社,1996年,第6页。
5同上。
1 1936年,凌叔华与英国青年诗人朱利安·贝尔(Julian Bell)合作,将自己的小说《无聊》翻译成英文“What’s the Point of It?”,发表于温源宁主编,上海出版的《天下》(T’ien hsia)月刊第3卷第1期。1937年4月,她又与贝尔合作,将自己的小说《疯了的诗人》翻译成英文“A Poet Goes Mad”,发表于《天下》月刊第4卷第4期。同年12月,她独立将自己的小说《写信》译成“Writing a Letter”,发表于《天下》月刊第5卷第5期。
2鲁迅,《鲁迅全集》(第3卷),人民文学出版社,1973年,第549页。
3鲁迅,《坟·摩罗诗力说》,《鲁迅全集》(第1卷),人民文学出版社,1973年,第65页。
4陈平原,“文学史研究丛书”总序,《中国现代小说的起点——清末民初小说研究》,北京大学出版社,2005年,第1页。
5孟昭毅、李载道,绪论,《中国翻译文学史》,北京大学出版社,2005年,第5-10页。
1茅盾,我对于介绍西洋文学的意见,原载《时事新报学灯》,1920年1月1号。见《茅盾选集》(第18卷),人民文学出版社,1997年,第7页。
2郑振铎,《世界文库》发刊缘起,《郑振铎选集》(第2卷),福建人民出版社,1984年,第661页。
3郑振铎,《世界文库》发刊缘起,《郑振铎选集》(第2卷),福建人民出版社,1984年,第662页。
4受到“西方冲击—中国反应”这一研究视角的制约,部分西方学者如夏志清将中国新文学视为是对西方文学的模仿,于是中国现代文学处于追赶西方现代文学的模式之中,其价值自然不会得到公允的评价。见C. T. Hsia, Classical Chinese Literature: Its Reception Today As a Product of Traditional Culture, Chinese Literature: Essays, Articles, Reviews, Vol. 10, No. 1/2 (Jul., 1988), p. 133.
5中国文学出版社副总编辑、编审吴旸在“《中国文学》的诞生”一文中详细介绍了杂志的来龙去脉,读者可以参考。载《中国外文局五十年:回忆录》,新星出版社,1999年,第488-492页。
6徐慎贵,中国文学出版社“熊猫丛书”简况,《青山在》,2005年第4期,第19页。
1钱钟书,林纾的翻译,《翻译论集》,罗新璋编,商务印书馆,1984年,第697页。
1乐黛云,序,《神奇的想象——南北欧作家与中国文化》,王宁、葛桂录主编,宁夏人民出版社,2005年,第2页。
5 Wang Ning, Globalizing Chinese Literature: toward a rewriting of contemporary Chinese Literary culture, edited by Jie Lu, China’s Literary and Cultural Scenes at the Turn of the 21st Century. Routledge: London & New York, 2008, pp.103-118.
3潘文国,译入与译出-谈中国译者从事汉籍英译的意义,《中国翻译》,2004年第2期,第40-43页。
4 AndréLefevere. Translated Literature: An Integrated Theory. The Bulletin of the Midwest Modern Language Association, (Vol. 14, No. 1, Spring, 1981), pp. 75-76 in pp.l68-178.
5杨匡汉主编,《中国当代文学》,辽宁教育出版社,2005年,第235页。
1 James Holmes. The Name and Nature of Translation Studies, Lawrence Venuti, (ed.) Translation Studies Reader. Routledge: London and New York, 2000, p.177.
2 Susan Bassnett. Translation Studies (Third Edition). Shanghai Foreign Language Education Press, 2004, p.45.
3谭载喜,《翻译学》(第二版),湖北教育出版社,2005年,第21页。
4刘宓庆,《新编当代翻译理论》,中国对外翻译出版公司,2005年,第19页。
5这些翻译史著述分别是:
1.韩迪厚著,《近代翻译史话》,香港中文大学校外进修部编辑,辰冲图书公司,1969年。
2.张曼涛编,《佛典翻译史论》,大乘文化出版社,1978 /1983年。
3.裴源著,《佛经翻译史实研究:中国翻译史纲(上篇)》,大乘文化出版社,1983年。
4.马祖毅著,《中国翻译简史“五四”以前部分》(第一版),中国对外翻译出版公司,1984年。
5.陈玉刚主编,《中国翻译文学史稿》,中国对外翻译出版公司,1989年。
6.臧仲伦编著,《中国翻译史话》,山东教育出版社,1991年。
7.陈福康著,《中国译学理论史稿》,上海外语教育出版社,1992年。
8.黎难秋著,《中国科学文献翻译史稿》,中国科学技术大学出版社,1993年。
9.黎难秋主编,《中国科学翻译史料》,中国科学技术大学出版社,1996。
10.热扎克·买提尼牙孜主编、马维汉等著,《西域翻译史》,新疆大学出版社,1996年。
11.孙致礼编著,《1949—1966:我国英美文学翻译概论》,译林出版社,1996年。
12.王克非编著,《翻译文化史论》(上海外语教育出版社,1997年。
13.马祖毅、任荣珍著,《汉籍外译史》,湖北教育教育出版社1997年。
14.郭延礼著,《中国近代翻译文学概论》,湖北教育教育出版社,1998/2005年。
15.马祖毅著,《中国翻译史(上卷)》,湖北教育出版社,1999年。
16.陈世明著,《新疆现代翻译史》,新疆大学出版社,1999年。
17.李亚舒,黎难秋主编,《中国科学翻译史》,湖南教育出版社,2000年。
18.王晓丹著,《翻译史话》,社会科学文献出版社,2000年。
19.旺堆次仁等著,《藏族翻译史及历代译师传略明鉴》,民族出版社,2001年。
20.王向远著,《二十世纪中国的日本翻译文学史》,北京师范大学出版社,2001。
21.黎难秋主编,《中国口译史》,青岛出版社,2002。
22.平保兴著,《五四译坛与俄罗斯文学》,青海人民出版社,2004。
23.谢天振、查明建主编,《中国现代翻译文学史1898～1949》,上海外语教育出版社,2004年。
24.孔慧怡著,《重写翻译史》,香港中文大学翻译研究中心,2005年。
25.李伟著,《中国近代翻译史》齐鲁书社,2005年。
26.方华文著,《20世纪中国翻译史》,西北大学出版社,2005年。
27.孟昭毅、李载道著,《中国翻译文学史》,北京大学出版社,2005年。
28.黎难秋著,《中国科学翻译史》,中国科学技术大学出版社,2005年。
29.平保兴著,《五四翻译理论史》,中国文史出版社,2005年。
30.王铁钧著,《中国佛经翻译史稿》,中央编译出版社,2006年。
31.查明建、谢天振主编,《中国20世纪外国文学翻译史》,湖北教育出版社,2007年。
1陈思和,我对20世纪中国文学的世界性因素的思考与探索,《中国比较文学》,2006年第2期,第9-15页。
1谢天振,《译介学》,上海外语教育出版社,1999年,第1页。
2查明建,译介学:渊源、性质、内容与方法——兼评比较文学论著、教材中有关“译介学”的论述,《中国比较文学》,2005年第1期,第41-62页。
3 20世纪50-70年代,从结构主义语言学研究翻译成为学术共同体的主导性研究范式。
4 Eugene A Nida and C. R. Taber, The Theory and Practice of Translation, Leiden: E. J. Brill, 1969, p.12.
5 J. C. Catford. A Linguistic Theory of Translation. London: Oxford University Press, 1965, p.1.
6 Ibid. p.20.
7 Peter Newmark. About Translation. CLevedon: Multilingual Matters Ltd., 1991, p.27.
8费道罗夫,李流等译,《翻译理论概要》,中华书局,1955年,第9页。
9谢天振,《译介学》,上海外语教育出版社,1999年,第1页。
1查明建,译介学:渊源、性质、内容与方法——兼评比较文学论著、教材中有关“译介学”的论述,《中国比较文学》,2005年,第1期,第41-62页。
2谢天振,《译介学》,上海外语教育出版社,1999年,第11页。
3 Eugene Chen Ouyang. The Transparent Eye: Reflections on Translation, Chinese Literature, and Comparative Poetics. Honolulu: University of Hawaii Press, 1993, p.27.
1 Sherry Simon. Gender in Translation: Cultural Identity and the Politics of Transmission. Routledge: London and New York, 1996, p7.
2 Ibid.
3 Susan Bassnett and AndréLefevere. Constructing Cultures: Essays on Literary Translation. Clevedon & London: Multilingual Matters Ltd. 1998, p.133.
4 Christina Sch?ffner. Politics and Translation, A Companion to Translation Studies, eds., by Piotr Kuhiwczak and Karin Littau. Multilingual Matters LTD: Clevedon, Buffalo, Toronto, 2007, p.136.
5王宁,《翻译研究的文化转向》,清华大学出版社,2009年,第8页。
6 Bassnett, Susan and AndréLefevere, General editors’preface, Translation, Rewriting, and the manipulation of Literary Fame, by AndréLefevere. London: Routledge, 1992, p.vii.
7孙歌,前言,《语言与翻译的政治》,徐宝强、袁伟编译,中央编译出版社,2001年,第1页。
1新时期中国文学在荷兰的翻译之所以取得了明显的成绩,“这大概与近20年来中国改革开放所带来的文艺繁荣局面不无关系”。伊维德,“中国文学在当代荷兰的接受:直接的翻译和交流”,载王宁,葛桂录主编,《神奇的想象——南北欧作家与中国文化》,宁夏人民出版社,2005年,第65页。
2王宁,“世界文学”与翻译,《文艺研究》,2009年第3期,23-31页。
3 Lawrence Venuti. Translation and the Formation of Cultural Identities, Cultural Functions of Translation, eds., by Christina Sch?ffner and Helen Kelly-Holmes. Multilingual Matters LTD., 1995, p.10.
4 Gideon Toury. Descriptive Translation Studies and Beyond. Amsterdam / Philadelphia: John Benjamins, 1995, p.24-25.
2 Robert E. Hegel. The Panda Books Translation Series, Chinese literature: Essays, Articles, Reviews, July 1984, Vol. 6, No. 1/2, pp.179-182.
3 Leo Ou-fan Lee. Contemporary Chinese Literature in Translation—A Review Article, The Journal of Asian Studies, Vol. 44, No. 3 (May, 1985), pp.561-567.
4 James O.H. Nason. Review of Wit and Humor from Old Cathay (trans, by Jon Kowallis, 1986), The China Quarterly, No. 112 (Dec., 1987), p.683.
1 Michael Duke.“The Problematic nature of modern and contemporary Chinese Fiction in English translation”, in Worlds Apart: Recent Chinese Writing and its Audiences, ed. Howard Goldblatt. New York: M.E. Sharpe, 1990.
2 Bonnie McDougall. Problems and Possibilities in Translating Contemporary Chinese Literature, The Australian Journal of Chinese Affairs, No.25, January 1991, pp.37-67.
3 John Balcom. Translating Modern Chinese Literature, in The Translator as Writer, eds. Susan Bassnett and Peter Bush. Continuum: London and New York, 2006, pp.119-134.
4 Eva Hung.“Blunder or Service?—The Translation of Contemporary Chinese Fiction into English”, Translation Review, No.36/37 (1991), pp.39-45.
5 Eugene Chen Eoyang. The Transparent Eye: Reflections on Translation, Chinese Literature and Comparative Poetics. University of Hawaii Press/Honolulu, 1993, pp.79-80.
6 Eugene Chen Eoyang and Lin Yao-fu. Translating Chinese literature. Bloomington and Indianapolis: Indiana UP, 1995.
7 A.C.格雷厄姆,中国诗的翻译,《比较文学译文集》,北京大学出版社,1982年,第233,235页。
8 Audrey Heijns. Renditions: 30 Years of Bringing Chinese Literature to English Readers, Translation Review, No.66 (2003), pp.30-33.
9孔慧怡,《译丛》三十年,《香港文学》(Hong Kong Literary Monthly)2003年6月1号,第222期,第80-81页。
10 Eva Hung. ed, Renditions experience 1973-2003. The Chinese University of Hong Kong, 2003.
1 Winston L.Y.Yang and Nathan K. Mao. Modern Chinese Fiction: A Guide to Its Study and Appreciation Essays and Bibliographies. G.K. Hall and Co. Boston, Mass. 1981.
2 Douglas Merwin. Contemporary Chinese Literature: An Anthology of Post-Mao Fiction and Poetry. M.E. Sharpe, Inc., Armonk, New York/London, 1984.
3 Michael S. Duke. Blooming and Contending: Chinese Literature in the Post-Mao Period. Indiana University Press, Bloomington. 1985.
4 Geremie Barméand John Minford. Seeds of Fire: Chinese Voices of Conscience. Far Eastern Economic Review Ltd, 1988.
5 Jeanne Tai. Spring Bamboo: A Collection of Contemporary Chinese Short Stories. New York: Random House, 1989.
6 Joseph S. M. Lau and Howard Goldblatt. The Columbia Anthology of Modern Chinese Literature. Columbia University Press, New York, 1995.
7 Bonnie S. McDougall and Kam Louie. The Literature of China in the Twentieth Century. Columbia University Press, New York, 1997.
8 Bonnie S. McDougall. Fictional Authors, Imaginary Audiences: Modern Chinese Literature in the Twentieth Century. The Chinese University of Hong Kong, 2003.
9唐弢,西方影响与民族风格——中国现代文学发展的一个轮廓,《文艺研究》,1982年第6期,第9-22页。作者认为“一个国家的文学,民族特色愈鲜明,就愈是有国际性”。
10刘大泯,‘中国文学走向世界’的思考,《贵州大学学报》,1988年第2期,第90-93页。
11只有钱念孙在“文学由民族走向世界的外因条件”一文里着重分析了翻译在民族文学走向世界的过程中扮演的重要角色,认为翻译是文学走向世界的桥梁。(见《文艺理论研究》,1988年第3期,第23-29页)
1王宁,“世界文学”与翻译,《文艺研究》,2009年第3期,第23-31页。
2肖惊鸿,把中国文学推向世界——经济全球化语境下中国文学译介的现状和问题,《文艺报》,2003年4月17号,第1版。
3胡志挥,“谁来向国外译介中国作品?-为我国英语编译水准一辩”,《中华读书报》2003年1月29号。
5谢天振,“谁来向世界译介中国文学和中国文化?”,《文景》杂志2005年第5期,第20-23页。“中国文化如何走出去”,《文汇读书周报》,2008年8月5号。
6马琳,交流的无奈—中国文学走向世界的传播困境与突围,《社会科学辑刊》,2007年第5期,第224-228页。
7潘文国,译入与译出——谈中国译者从事汉籍英译的意义,《中国翻译》2004年第2期,第40-43页。
8潘文国,中籍外译,此其时也——关于中译外问题的宏观思考,《杭州师范学院学报》(社会科学版),2007年第6期,第30-36页。
9王恩冕,从母语译入外语:东亚三国的经验对比,《中国翻译》2008年第1期,第72-75页。
10胡德香,对译入译出的文化思考,《湖南大学学报》(人文社会科学版),2006年第3期,第355-359页。
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11 Tak-hung Leo Chan. One into Many: translation and the dissemination of classical Chinese literature. New York: Rodopi, 2003.
1顾彬认为中国当代文学的语言水平不高,没有好的文学。参见顾彬,从语言角度看中国当代文学,《南京大学学报》(社哲版),2009年第2期,第69-76页。
1周宁,引自葛桂录,《跨文化语境中的中外文学关系研究》,上海三联书店,2008年,第435页。
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3马祖毅,任荣珍,《汉籍外译史》,湖北教育出版社,2007年,第706页。
2 Jenny Williams and Andrew Chesterman eds. The Map: A Beginner’s Guide to Doing Research in Translation Studies. St. Jerome Publishing: Manchester, UK & Northampton MA, 2002, p.51.
2 Andrew J. Nathan. Is Chinese Culture Distinctive?—A review Article. The Journal of Asian Studies, Vol. 52, No. 4 (November 1993), p.924.
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3黄子平,“早晨,北大!”,《文艺报》,2010年1月27号。
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3毛泽东,《在延安文艺座谈会上的讲话》,1942年10月,解放社1949年第2版,第18-19页。
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1 Chen Xiaoming. The Mysterious Other: Postpolitics in Chinese Film. Boundary 2, 1997, Vol. 24, No. 3, pp. 123-141.
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2杨正泉,让世界了解中国,《书刊对外宣传的理论与实践》,新星出版社,1999年,第1页。
1 Yang Xianyi. Preface. Best Chinese Stories: 1949-1989. Chinese Literature Press, 1989.
3杨正泉,让世界了解中国,《书刊对外宣传的理论与实践》,新星出版社,1999年,第12页。1 Shen Congwen. The Border Town and Other Stories, trans., by Gladys Yang. Chinese Literature, 1981, pp. 102-119. 2 Xiao Hong. Selected Works of Xiao Hong, trans., by Howard Goldblatt. Chinese Literature, 1983. 3 Ma Aiying. Cultural Translation from Chinese to English: A Case Study of Translation and Interpretation of Selected Contemporary Texts. Science Press, 2006, p.76.
1 C.T. Hsia. Classical Chinese Literature: Its Reception Today As a Product of Traditional Culture, Chinese Literature: Essays, Articles, Reviews, Vol. 10, No. 1/2 (Jul., 1988), pp. 133-152.
1这多少说明文学与政治之间的关系已然发生了变化。与文革时期不同,新时期文学开始逐渐走向文艺自由和民主。“文学界长期以来存在的权力构成和所形成的控制方式,处在难以阻挡地逐步瓦解的过程之中。”(洪子诚著,《中国当代文学史》,北京大学出版社,2006年,第227页。)
2德里克(Arif Dirlik)在一篇评论文章中就指出,80年代的中华人民共和国燃起了西方人坚信中国走向资本主义道路的信念。(Arif Dirlik. Review: Chinese Studies at a Crossroads. Asian Studies Review. September 2004, Vol. 28, pp. 303-311.)
3 Nicole Mones. We’re Still in Love With The Romance of the Past. The Washington Post. July 27, 2008, p.B01.
3宫力,《峰谷间的震荡:1979年以来的中美关系》,中国青年出版社,1996年,第204页。
2 Michelle Yeh. World literature in review: China, World Literature Today, vol. 64, issue 1, 1990.
3 Ibid.
4陈晓明,《中国当代文学主潮》,北京大学出版社,2009年,第269-270页。
2 Stephen Haven. Book Review of The August Sleepwalker by Bei Dao. Manhattan Review, Vol 5, Issue 2,1990, pp.46-51.
3 Li Dian. Ideology and Conflicts in Bei Dao’s Poetry. Modern Chinese Literature, Vol. 9, Issue 2, 1996, pp. 369-385.
4 Vera Schwarcz. Winter’s Voice: Bei Dao. World Literature Today, Vol. 83, issue 3, 2009, pp. 4-5.
1 Stephen Owen. What Is World Poetry? The New Republic, November 19, 1990, p.31 in pp.28-32.
2 Marsden, Philip. Dust of a Nation, The Observer, June 10, 2001.
1 Stephanie Merritt. Home truths from the exile. The Observer, Sunday, May 2, 2004.
2 Alane Salierno Mason. The Noddle Maker. The Baltimore Sun, 2005.
3 Stephanie Merritt. Home truths from the exile. The Observer, Sunday, May 2, 2004.
2王德威、季进,当代文学:评论与翻译——王德威访谈录,《当代作家评论》,2008年第5期,第68-78页。
1 Bonnie S. McDougall. Fictional Authors, Imaginary Audiences: Modern Chinese Literature in the Twentieth Century. The Chinese University Press, 2003, p.33.
1 Yang Xianyi. White Tiger: An Autobiography of Yang Xianyi. The Chinese University Press, 2002, p.285.
1 Russell E. McLeod. Review of The Selected Poems and Essays of Wen Yiduo. World Literature Today. Winter 1992, Vol. 66, Issue 1, p.446.
2 Michelle Yeh. Review of The Women Trilogy by Bai Fengxi. World Literature Today. Summer 1992, Vol.66, Issue 3, p.577.
3 Bettina L. Knapp. Review of Contemporary Chinese Women Writers. (Vol. 2). World Literature Today. Autumn, 1992, Vol. 66, Issue 4, pp. 774-775.
4 Jeffrey C. Kinkley. Review of Black Snow by Liu Heng and The Heavenly Hound by Jia Pingwa. World Literature Today. Autumn, 1992, Vol. 66, Issue 4, pp. 776-777.
1 Philip F. Williams. Review of Green Bamboo Hermitage by Wu Zuxiang. World Literature Today. Autumn, 1992, Vol. 66, Issue 4, pp. 778.
2 Bettina L. Knapp. Review of Contemporary Chinese Women Writers (Vol. 3). World Literature Today. Spring 1995, Vol. 69, Issue 2, p. 432.
3 Fatima Wu. Review of Banana Vale by Ai Wu. World Literature Today. Spring 1995, Vol. 69, Issue 2, pp.431-432.
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1 M. Thomas Inge. Mo Yan Through Western Eyes, World Literature Today, Vol. 74, Issue 3, 2000, pp.501-506.
1 C.T. Hsia. Classical Chinese Literature: Its Reception Today As a Product of Traditional Culture, Chinese Literature: Essays, Articles, Reviews, Vol. 10, No. 1/2 (Jul., 1988), p. 138 in pp.133-152.
1 Jeffrey C. Kinkley. A Bibliographic Survey of Publications on Chinese Literature in Translation from 1949 to 1999, Chinese Literature: In the Second Half of a Modern Century, edited by Pang-Yuan Chi and David Der-Wei Wang. Indiana University Press, 2000, p.247.
1 Paul B. Armstrong. Form and History: Reading as an Aesthetic Experience and Historical Act. Modern Language Quarterly, June 2008, Vol. 69, No. 2, pp. 195-219.
1 Fredric Jameson. Third-World Literature in the Era of Multinational Capitalism. Social Text, Autumn 1986, No. 15, pp. 65-88.
1 Lefevere, Andrè. Translated Literature: An Integrated Theory. The Bulletin of the Midwest Modern Language Association, (Vol. 14, No. 1, Spring, 1981), p.75 from pp.68-78.
2 McDougall, Bonnie S. Modern Chinese Literature and Its Critics, Fictional Authors, Imaginary Audiences: Modern Chinese Literature in the Twentieth Century, The Chinese University Press, 2003, p.33.
2葛浩文,“中国小说一天比一天好”,刘蓓蓓采访,《中国新闻出版报》,2008年3月26日第4版。
1郭延礼,《文学经典的翻译与解读-西方先哲的文化之旅》,山东教育出版社,2007年,第143页。
1 C.T. Hsia. Classical Chinese Literature: Its Reception Today As a Product of Traditional Culture, Chinese Literature: Essays, Articles, Reviews, Vol. 10, No. 1/2 (Jul., 1988), p. 138 in pp.133-152.
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罗德里克·麦克法夸尔、费正清主编,《剑桥中华人民共和国史(1966-1982)》,上海人民出版社,1992年。
马琳,“交流的无奈”-中国文学走向世界的传播困境与突围,《社会科学辑刊》,2007年第5期。
马祖毅、任荣珍,《汉籍外译史》,湖北教育教育出版社,1997年。
茅盾,解放思想,发扬文艺民主——茅盾在中国文学艺术工作者第四次代表大会及中国作家协会第三次会员代表大会上的讲话。1979年10月30号至11月6号。
茅盾,我对于介绍西洋文学的意见,原载《时事新报学灯》,1920年1月1号。见《茅盾选集》(第18卷),人民文学出版社,1997年。
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潘文国,中籍外译,此其时也——关于中译外问题的宏观思考,《杭州师范学院学报》(社会科学版),2007年第6期。
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钱念孙,《文学横向发展论》,上海文艺出版社,2001年。
钱钟书,《林纾的翻译》,罗新璋编,《翻译论集》,商务印书馆,1984年。
孙歌,前言,载《语言与翻译的政治》,徐宝强、袁伟主编,中央编译出版社,2001年。
孙健敏,中国版权输出的台前幕后,《文汇报》,2003年11月7号。
唐家龙,熊猫丛书走向世界,《对外传播》,1995年第1期。
谭载喜,《翻译学》(第2版),湖北教育出版社,2005年。
唐述宗、何琼,文化全球化背景下的“东学西渐”——寻求与西方文明的平等对话,《中国科技翻译》,2008年第2期。
唐弢,西方影响与民族风格——中国现代文学发展的一个轮廓,《文艺研究》,
1982年第6期。王德威、季进,当代文学:评论与翻译——王德威访谈录,《当代作家评论》,2008年第5期。
王恩冕,从母语译入外语:东亚三国的经验对比,《中国翻译》2008年第1期。
王建开,《五四以来我国英美文学作品译介史:1919-1949》,上海外语教育出版社,2003年。
王明杰,思想解放的年代——《中国文学》的繁荣期和《熊猫丛书》。未刊稿。
王宁,全球化、民族主义及超民族主义,《西南民族大学学报》(人文社科版),2007年第4期。
王宁,“世界文学”与翻译,《文艺研究》,2009年第3期。
王宁,《翻译研究的文化转向》,清华大学出版社,2009年。
王向远,论比较文学的“传播研究”—它与“影响研究”的区别,它的方法、意义与价值,《南京师范大学文学院学报》,2002年第2期。
王向远,大胆假设,细致分析——比较文学“影响研究”新解,《北京社会科学》,2003年第2期。
王一川,“全球性”境遇中的中国文学,载《全球化与文化:西方与中国》,王宁主编,北京大学出版社,2002年。
王勇,中国文学译介阵地丢失的文化反思与对策,《许昌学院学报》,2003年第6期。
[美]乌尔利希·韦斯坦因,《比较文学与文学理论》,辽宁人民出版社,1987年。
吴旭东编著,《第二语言习得研究——方法与实践》,上海外语教育出版社,2006年。
吴旸,“《中国文学》的诞生”,《中国外文局五十年:回忆录》,新星出版社,1999年。
夏志清,《中国现代小说史》,刘绍铭等译,香港中文大学出版社,2001年。
肖惊鸿,把中国文学推向世界——经济全球化语境下中国文学译介的现状和问题,《文艺报》,2003年4月17号,第1版。
萧乾,斯诺与中国新文艺运动——记《活的中国》,《新文学史料》,1978年第1期。
萧乾,斯诺与中国新文艺运动——本版代序,《活的中国》,埃德加·斯诺编,湖南人民出版社,1983年。
[德]西尔伯曼,《文学社会学引论》,安徽文艺出版社,1988年。
谢天振,《译介学》,上海外语教育出版社,1999年,第1页。
谢天振,谁来向世界译介中国文学和中国文化?,《文景》,2005年第5期。谢天振,“如何向世界告知中国文化”,王研采访,《辽宁日报》,2008年5月9号,第12版。
谢天振,中国文化如何走出去,《文汇读书周报》,2008年8月5号。
谢天振,译介学研究:中外文学关系新视角,《社会科学报》,2008年9月18号,第6版。
徐慎贵,中国文学出版社“熊猫丛书”简况,《青山在》,2005年第4期。
徐慎贵,《中国文学》对外传播的历史贡献,《对外传播》,2007年第8期。
杨匡汉主编,《中国当代文学》,辽宁教育出版社,2005年。
杨宪益,祝贺作家谌容入党戏作一律,见杨宪益“自嘲”(外三首),载《同舟共济》,1994年第2期。
杨宪益,《漏船载酒忆当年》,薛鸿时译,北京十月文艺出版社,2001年。
杨宪益,我与英译本《红楼梦》,载《一本书和一个世界》(第2集),郑鲁南编,昆仑出版社,2008年。
杨正泉,让世界了解中国,《书刊对外宣传的理论与实践》,新星出版社,1999年。
伊维德,“中国文学在当代荷兰的接受:直接的翻译和交流”,载《神奇的想象——南北欧作家与中国文化》,王宁、葛桂录主编,宁夏人民出版社,2005年。
约瑟夫·T·肖,文学借鉴与比较文学研究,《比较文学研究资料》,北京师范大学出版社,1988年。
乐黛云,序,载《神奇的想象——南北欧作家与中国文化》,王宁、葛桂录主编,宁夏人民出版社,2005年。
岳峰,东学西渐第一人——被遗忘的翻译家陈季同,《中国翻译》,2001年第4期。
臧克家,关于“朦胧诗”,《河北师范学院学报》,1981年第1期。
曾朴,曾先生答书,载《胡适文存三集》(卷八),黄山书社,1996年。
邹霆,《永远的求索:杨宪益传》,华东师范大学出版社,2001年。
[日]樽本照雄,反映时代的小说目录——关于《新编清末民初小说目录》,载《增补新编清末民初小说目录》,齐鲁书社,2002年。
查明建,译介学:渊源、性质、内容与方法——兼评比较文学论著、教材中有关“译介学”的论述,《中国比较文学》,2005年第1期。
张业松,《文学课堂与文学研究》,复旦大学出版社,2008年。
赵尔巽等撰,《清史稿列传》(六,卷四五七至卷四八六),列传二百七十三,文苑三明文书局印行,1986年,页一三四四九。
郑振铎,《世界文库》发刊缘起,《郑振铎选集》(第2卷),福建人民出版社,1984年。
4肖惊鸿,把中国文学推向世界——经济全球化语境下中国文学译介的现状和问题,《文艺报》,2003年4月17号,第1版。
1王勇,中国文学译介阵地丢失的文化反思与对策,《许昌学院学报》,2003年第6期,第73-74页。
2潘文国,译入与译出——谈中国译者从事汉籍英译的意义,《中国翻译》2004年第2期,第40-43页。潘文国,中籍外译,此其时也——关于中译外问题的宏观思考,《杭州师范学院学报》(社会科学版),2007年第6期,第30-36页。
3徐慎贵,中国文学出版社“熊猫丛书”简况,《青山在》,2005年第4期,第19-21页。以及徐慎贵,《中国文学》对外传播的历史贡献,《对外大传播》,2007年第8期,第46-49页。
4谢天振,谁来向世界译介中国文学和中国文化?,《文景》,2005年第5期,第20-23页。谢天振,中国文化如何走出去,《文汇读书周报》,2008年8月5号。
5胡德香,对译入译出的文化思考,《湖南大学学报》(人文社会科学版),2006年第3期,第355-359页。
6王恩冕,从母语译入外语:东亚三国的经验对比,《中国翻译》2008年第1期,第72-75页。
7唐述宗、何琼,文化全球化背景下的“东学西渐”——寻求与西方文明的平等对话,《中国科技翻译》,2008年第2期,第33-37页。
8杨宪益先生的辞世可以说引发了一场对中国文学和文化怎样走出去的反思,比较有代表性的文章有:刘建林,文学翻译不宜“专业化”,《光明日报》,2009年12月3号。任珊珊,听两家出版社负责人说困境:中国图书为何难行海外路,《人民日报》,2009年12月3号。董阳,文化传播中的“斯诺”在哪里,《人民日报》,2009年12月4号。谢天振、龚丹韵,杨宪益身后的思考:中国文化如何全球传播,《解放日报》,2009年12月4号。何家干,杨宪益旧体诗与愤世的无奈,《东方早报》,2009年12月4号。傅小平,翻译家杨宪益辞世引发思考“中国文化如何走出去?”,《文学报》,2009年12月3号。谢天振,今天,我们该如何纪念杨宪益先生?,《东方翻译》,2010年第1期,第4-9页。
9转引自曾朴给胡适的信,曾先生答书,载《胡适文存三集》(卷八),黄山书社,1996年,第559-566页。
10晚清政治家、著名学者,中学西传第一人,通过翻译与著述,“将中国文化、文学直接传播给西方读者,其中不少内容是首次介绍到西方”(李华川,陈季同生平史事考,《清史论丛》,2002年号,总第17期,第149-168页。),改变了西方人对中国文化的偏见,为中西文化交流做出了开创性的贡献。
11岳峰,东学西渐第一人——被遗忘的翻译家陈季同,《中国翻译》,2001年第4期,第54-57页。
1陈季同,古典诗歌,载《中国人自画像》,段映红译,广西师范大学出版社,2006年,第125-153页。
2曾朴,曾先生答书,载《胡适文存三集》(卷八),黄山书社,1996年,第559-566页。
3同上。
4儒家经典虽然有的包含了文学性因素,但基本与纯文学作品有异。
5辜鸿铭所著The Spirit of the Chinese People(《春秋大义》)主要向西方人介绍中国文化,顺带翻译了中国古典文学。
6辜鸿铭译《论语》和《中庸》实为了向西方宣传孔孟之道,他坚信“异日世界之争必烈,微中国礼教不能弭此祸也。”(赵尔巽等撰,《清史稿列传》(六,卷四五七至卷四八六),列传二百七十三,文苑三,明文书局印行,页一三四四九,1986年。)
7同期(清末民初)的创作作品为1531种,而翻译作品达1101种。数据来自(日)樽本照雄,反映时代的小说目录——关于《新编清末民初小说目录》,载《增补新编清末民初小说目录》,齐鲁书社,2002年,第2页。
1戈宝权,《〈阿Q正传〉在国外》,人民文学出版社,1981年,第20页。
2王际真(Chi-Chen Wang, 1899-?),字稚臣,原籍山东省桓台县,是第一位将中国古典小说《红楼梦》翻译成英文的华人,早年毕业于留美预备学堂,1922年赴美留学,后一生时间大都在美度过。
3萧乾,斯诺与中国新文艺运动——本版代序,《活的中国》,埃德加·斯诺编,湖南人民出版社,1983年,第1页。或参考萧乾,斯诺与中国新文艺运动——记《活的中国》,《新文学史料》,1978年第1期,第213-220页。
4符家钦,《记萧乾》,时事出版社,1996年,第6页。
5同上。
1 1936年,凌叔华与英国青年诗人朱利安·贝尔(Julian Bell)合作,将自己的小说《无聊》翻译成英文“What’s the Point of It?”,发表于温源宁主编,上海出版的《天下》(T’ien hsia)月刊第3卷第1期。1937年4月,她又与贝尔合作,将自己的小说《疯了的诗人》翻译成英文“A Poet Goes Mad”,发表于《天下》月刊第4卷第4期。同年12月,她独立将自己的小说《写信》译成“Writing a Letter”,发表于《天下》月刊第5卷第5期。
2鲁迅,《鲁迅全集》(第3卷),人民文学出版社,1973年,第549页。
3鲁迅,《坟·摩罗诗力说》,《鲁迅全集》(第1卷),人民文学出版社,1973年,第65页。
4陈平原,“文学史研究丛书”总序,《中国现代小说的起点——清末民初小说研究》,北京大学出版社,2005年,第1页。
5孟昭毅、李载道,绪论,《中国翻译文学史》,北京大学出版社,2005年,第5-10页。
1茅盾,我对于介绍西洋文学的意见,原载《时事新报学灯》,1920年1月1号。见《茅盾选集》(第18卷),人民文学出版社,1997年,第7页。
2郑振铎,《世界文库》发刊缘起,《郑振铎选集》(第2卷),福建人民出版社,1984年,第661页。
3郑振铎,《世界文库》发刊缘起,《郑振铎选集》(第2卷),福建人民出版社,1984年,第662页。
4受到“西方冲击—中国反应”这一研究视角的制约,部分西方学者如夏志清将中国新文学视为是对西方文学的模仿,于是中国现代文学处于追赶西方现代文学的模式之中,其价值自然不会得到公允的评价。见C. T. Hsia, Classical Chinese Literature: Its Reception Today As a Product of Traditional Culture, Chinese Literature: Essays, Articles, Reviews, Vol. 10, No. 1/2 (Jul., 1988), p. 133.
5中国文学出版社副总编辑、编审吴旸在“《中国文学》的诞生”一文中详细介绍了杂志的来龙去脉,读者可以参考。载《中国外文局五十年:回忆录》,新星出版社,1999年,第488-492页。
6徐慎贵,中国文学出版社“熊猫丛书”简况,《青山在》,2005年第4期,第19页。
1钱钟书,林纾的翻译,《翻译论集》,罗新璋编,商务印书馆,1984年,第697页。
1乐黛云,序,《神奇的想象——南北欧作家与中国文化》,王宁、葛桂录主编,宁夏人民出版社,2005年,第2页。
5 Wang Ning, Globalizing Chinese Literature: toward a rewriting of contemporary Chinese Literary culture, edited by Jie Lu, China’s Literary and Cultural Scenes at the Turn of the 21st Century. Routledge: London & New York, 2008, pp.103-118.
3潘文国,译入与译出-谈中国译者从事汉籍英译的意义,《中国翻译》,2004年第2期,第40-43页。
4 AndréLefevere. Translated Literature: An Integrated Theory. The Bulletin of the Midwest Modern Language Association, (Vol. 14, No. 1, Spring, 1981), pp. 75-76 in pp.l68-178.
5杨匡汉主编,《中国当代文学》,辽宁教育出版社,2005年,第235页。
1 James Holmes. The Name and Nature of Translation Studies, Lawrence Venuti, (ed.) Translation Studies Reader. Routledge: London and New York, 2000, p.177.
2 Susan Bassnett. Translation Studies (Third Edition). Shanghai Foreign Language Education Press, 2004, p.45.
3谭载喜,《翻译学》(第二版),湖北教育出版社,2005年,第21页。
4刘宓庆,《新编当代翻译理论》,中国对外翻译出版公司,2005年,第19页。
5这些翻译史著述分别是:
1.韩迪厚著,《近代翻译史话》,香港中文大学校外进修部编辑,辰冲图书公司,1969年。
2.张曼涛编,《佛典翻译史论》,大乘文化出版社,1978 /1983年。
3.裴源著,《佛经翻译史实研究:中国翻译史纲(上篇)》,大乘文化出版社,1983年。
4.马祖毅著,《中国翻译简史“五四”以前部分》(第一版),中国对外翻译出版公司,1984年。
5.陈玉刚主编,《中国翻译文学史稿》,中国对外翻译出版公司,1989年。
6.臧仲伦编著,《中国翻译史话》,山东教育出版社,1991年。
7.陈福康著,《中国译学理论史稿》,上海外语教育出版社,1992年。
8.黎难秋著,《中国科学文献翻译史稿》,中国科学技术大学出版社,1993年。
9.黎难秋主编,《中国科学翻译史料》,中国科学技术大学出版社,1996。
10.热扎克·买提尼牙孜主编、马维汉等著,《西域翻译史》,新疆大学出版社,1996年。
11.孙致礼编著,《1949—1966:我国英美文学翻译概论》,译林出版社,1996年。
12.王克非编著,《翻译文化史论》(上海外语教育出版社,1997年。
13.马祖毅、任荣珍著,《汉籍外译史》,湖北教育教育出版社1997年。
14.郭延礼著,《中国近代翻译文学概论》,湖北教育教育出版社,1998/2005年。
15.马祖毅著,《中国翻译史(上卷)》,湖北教育出版社,1999年。
16.陈世明著,《新疆现代翻译史》,新疆大学出版社,1999年。
17.李亚舒,黎难秋主编,《中国科学翻译史》,湖南教育出版社,2000年。
18.王晓丹著,《翻译史话》,社会科学文献出版社,2000年。
19.旺堆次仁等著,《藏族翻译史及历代译师传略明鉴》,民族出版社,2001年。
20.王向远著,《二十世纪中国的日本翻译文学史》,北京师范大学出版社,2001。
21.黎难秋主编,《中国口译史》,青岛出版社,2002。
22.平保兴著,《五四译坛与俄罗斯文学》,青海人民出版社,2004。
23.谢天振、查明建主编,《中国现代翻译文学史1898～1949》,上海外语教育出版社,2004年。
24.孔慧怡著,《重写翻译史》,香港中文大学翻译研究中心,2005年。
25.李伟著,《中国近代翻译史》齐鲁书社,2005年。
26.方华文著,《20世纪中国翻译史》,西北大学出版社,2005年。
27.孟昭毅、李载道著,《中国翻译文学史》,北京大学出版社,2005年。
28.黎难秋著,《中国科学翻译史》,中国科学技术大学出版社,2005年。
29.平保兴著,《五四翻译理论史》,中国文史出版社,2005年。
30.王铁钧著,《中国佛经翻译史稿》,中央编译出版社,2006年。
31.查明建、谢天振主编,《中国20世纪外国文学翻译史》,湖北教育出版社,2007年。
1陈思和,我对20世纪中国文学的世界性因素的思考与探索,《中国比较文学》,2006年第2期,第9-15页。
1谢天振,《译介学》,上海外语教育出版社,1999年,第1页。
2查明建,译介学:渊源、性质、内容与方法——兼评比较文学论著、教材中有关“译介学”的论述,《中国比较文学》,2005年第1期,第41-62页。
3 20世纪50-70年代,从结构主义语言学研究翻译成为学术共同体的主导性研究范式。
4 Eugene A Nida and C. R. Taber, The Theory and Practice of Translation, Leiden: E. J. Brill, 1969, p.12.
5 J. C. Catford. A Linguistic Theory of Translation. London: Oxford University Press, 1965, p.1.
6 Ibid. p.20.
7 Peter Newmark. About Translation. CLevedon: Multilingual Matters Ltd., 1991, p.27.
8费道罗夫,李流等译,《翻译理论概要》,中华书局,1955年,第9页。
9谢天振,《译介学》,上海外语教育出版社,1999年,第1页。
1查明建,译介学:渊源、性质、内容与方法——兼评比较文学论著、教材中有关“译介学”的论述,《中国比较文学》,2005年,第1期,第41-62页。
2谢天振,《译介学》,上海外语教育出版社,1999年,第11页。
3 Eugene Chen Ouyang. The Transparent Eye: Reflections on Translation, Chinese Literature, and Comparative Poetics. Honolulu: University of Hawaii Press, 1993, p.27.
1 Sherry Simon. Gender in Translation: Cultural Identity and the Politics of Transmission. Routledge: London and New York, 1996, p7.
2 Ibid.
3 Susan Bassnett and AndréLefevere. Constructing Cultures: Essays on Literary Translation. Clevedon & London: Multilingual Matters Ltd. 1998, p.133.
4 Christina Sch?ffner. Politics and Translation, A Companion to Translation Studies, eds., by Piotr Kuhiwczak and Karin Littau. Multilingual Matters LTD: Clevedon, Buffalo, Toronto, 2007, p.136.
5王宁,《翻译研究的文化转向》,清华大学出版社,2009年,第8页。
6 Bassnett, Susan and AndréLefevere, General editors’preface, Translation, Rewriting, and the manipulation of Literary Fame, by AndréLefevere. London: Routledge, 1992, p.vii.
7孙歌,前言,《语言与翻译的政治》,徐宝强、袁伟编译,中央编译出版社,2001年,第1页。
1新时期中国文学在荷兰的翻译之所以取得了明显的成绩,“这大概与近20年来中国改革开放所带来的文艺繁荣局面不无关系”。伊维德,“中国文学在当代荷兰的接受:直接的翻译和交流”,载王宁,葛桂录主编,《神奇的想象——南北欧作家与中国文化》,宁夏人民出版社,2005年,第65页。
2王宁,“世界文学”与翻译,《文艺研究》,2009年第3期,23-31页。
3 Lawrence Venuti. Translation and the Formation of Cultural Identities, Cultural Functions of Translation, eds., by Christina Sch?ffner and Helen Kelly-Holmes. Multilingual Matters LTD., 1995, p.10.
4 Gideon Toury. Descriptive Translation Studies and Beyond. Amsterdam / Philadelphia: John Benjamins, 1995, p.24-25.
2 Robert E. Hegel. The Panda Books Translation Series, Chinese literature: Essays, Articles, Reviews, July 1984, Vol. 6, No. 1/2, pp.179-182.
3 Leo Ou-fan Lee. Contemporary Chinese Literature in Translation—A Review Article, The Journal of Asian Studies, Vol. 44, No. 3 (May, 1985), pp.561-567.
4 James O.H. Nason. Review of Wit and Humor from Old Cathay (trans, by Jon Kowallis, 1986), The China Quarterly, No. 112 (Dec., 1987), p.683.
1 Michael Duke.“The Problematic nature of modern and contemporary Chinese Fiction in English translation”, in Worlds Apart: Recent Chinese Writing and its Audiences, ed. Howard Goldblatt. New York: M.E. Sharpe, 1990.
2 Bonnie McDougall. Problems and Possibilities in Translating Contemporary Chinese Literature, The Australian Journal of Chinese Affairs, No.25, January 1991, pp.37-67.
3 John Balcom. Translating Modern Chinese Literature, in The Translator as Writer, eds. Susan Bassnett and Peter Bush. Continuum: London and New York, 2006, pp.119-134.
4 Eva Hung.“Blunder or Service?—The Translation of Contemporary Chinese Fiction into English”, Translation Review, No.36/37 (1991), pp.39-45.
5 Eugene Chen Eoyang. The Transparent Eye: Reflections on Translation, Chinese Literature and Comparative Poetics. University of Hawaii Press/Honolulu, 1993, pp.79-80.
6 Eugene Chen Eoyang and Lin Yao-fu. Translating Chinese literature. Bloomington and Indianapolis: Indiana UP, 1995.
7 A.C.格雷厄姆,中国诗的翻译,《比较文学译文集》,北京大学出版社,1982年,第233,235页。
8 Audrey Heijns. Renditions: 30 Years of Bringing Chinese Literature to English Readers, Translation Review, No.66 (2003), pp.30-33.
9孔慧怡,《译丛》三十年,《香港文学》(Hong Kong Literary Monthly)2003年6月1号,第222期,第80-81页。
10 Eva Hung. ed, Renditions experience 1973-2003. The Chinese University of Hong Kong, 2003.
1 Winston L.Y.Yang and Nathan K. Mao. Modern Chinese Fiction: A Guide to Its Study and Appreciation Essays and Bibliographies. G.K. Hall and Co. Boston, Mass. 1981.
2 Douglas Merwin. Contemporary Chinese Literature: An Anthology of Post-Mao Fiction and Poetry. M.E. Sharpe, Inc., Armonk, New York/London, 1984.
3 Michael S. Duke. Blooming and Contending: Chinese Literature in the Post-Mao Period. Indiana University Press, Bloomington. 1985.
4 Geremie Barméand John Minford. Seeds of Fire: Chinese Voices of Conscience. Far Eastern Economic Review Ltd, 1988.
5 Jeanne Tai. Spring Bamboo: A Collection of Contemporary Chinese Short Stories. New York: Random House, 1989.
6 Joseph S. M. Lau and Howard Goldblatt. The Columbia Anthology of Modern Chinese Literature. Columbia University Press, New York, 1995.
7 Bonnie S. McDougall and Kam Louie. The Literature of China in the Twentieth Century. Columbia University Press, New York, 1997.
8 Bonnie S. McDougall. Fictional Authors, Imaginary Audiences: Modern Chinese Literature in the Twentieth Century. The Chinese University of Hong Kong, 2003.
9唐弢,西方影响与民族风格——中国现代文学发展的一个轮廓,《文艺研究》,1982年第6期,第9-22页。作者认为“一个国家的文学,民族特色愈鲜明,就愈是有国际性”。
10刘大泯,‘中国文学走向世界’的思考,《贵州大学学报》,1988年第2期,第90-93页。
11只有钱念孙在“文学由民族走向世界的外因条件”一文里着重分析了翻译在民族文学走向世界的过程中扮演的重要角色,认为翻译是文学走向世界的桥梁。(见《文艺理论研究》,1988年第3期,第23-29页)
1王宁,“世界文学”与翻译,《文艺研究》,2009年第3期,第23-31页。
2肖惊鸿,把中国文学推向世界——经济全球化语境下中国文学译介的现状和问题,《文艺报》,2003年4月17号,第1版。
3胡志挥,“谁来向国外译介中国作品?-为我国英语编译水准一辩”,《中华读书报》2003年1月29号。
5谢天振,“谁来向世界译介中国文学和中国文化?”,《文景》杂志2005年第5期,第20-23页。“中国文化如何走出去”,《文汇读书周报》,2008年8月5号。
6马琳,交流的无奈—中国文学走向世界的传播困境与突围,《社会科学辑刊》,2007年第5期,第224-228页。
7潘文国,译入与译出——谈中国译者从事汉籍英译的意义,《中国翻译》2004年第2期,第40-43页。
8潘文国,中籍外译,此其时也——关于中译外问题的宏观思考,《杭州师范学院学报》(社会科学版),2007年第6期,第30-36页。
9王恩冕,从母语译入外语:东亚三国的经验对比,《中国翻译》2008年第1期,第72-75页。
10胡德香,对译入译出的文化思考,《湖南大学学报》(人文社会科学版),2006年第3期,第355-359页。
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3《中国文学在苏俄》(李明滨,1990);《中国文学在英国》(张弘,1992);《中国文学在法国》(钱林森,1990);《中国文学在日本》(严绍璗、王晓平,1990);《中国文学在朝鲜》(韦旭升,1990)。
4范存忠,《中国文学在启蒙时期的英国》,上海外语教育出版社,1991年。
5施建业,《中国文学在世界的传播与影响》,黄河出版社,1993年。
6宋柏年,《中国古典文学在国外》,北京语言学院出版社,1994年。
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8闵宽东(韩国),《中国古典小说在韩国之传播》,学林出版社,1998年。
9李岫、秦林芳主编,《二十世纪中外文学交流史》,河北教育出版社,2001年。
10马祖毅,任荣珍,《汉籍外译史》,湖北教育出版社,2007年,第706页。
11 Tak-hung Leo Chan. One into Many: translation and the dissemination of classical Chinese literature. New York: Rodopi, 2003.
1顾彬认为中国当代文学的语言水平不高,没有好的文学。参见顾彬,从语言角度看中国当代文学,《南京大学学报》(社哲版),2009年第2期,第69-76页。
1周宁,引自葛桂录,《跨文化语境中的中外文学关系研究》,上海三联书店,2008年,第435页。
2葛桂录,《跨文化语境中的中外文学关系研究》,上海三联书店,2008年,第433页。
3马祖毅,任荣珍,《汉籍外译史》,湖北教育出版社,2007年,第706页。
2 Jenny Williams and Andrew Chesterman eds. The Map: A Beginner’s Guide to Doing Research in Translation Studies. St. Jerome Publishing: Manchester, UK & Northampton MA, 2002, p.51.
2 Andrew J. Nathan. Is Chinese Culture Distinctive?—A review Article. The Journal of Asian Studies, Vol. 52, No. 4 (November 1993), p.924.
1 Sandra Harding. Introduction: Is There a Feminist Method? Feminist Research Methods, Sun Zhongxin and Zhang Lili eds. Fudan University Press, 2007, p.2.
1季羡林,东学西渐与“东化”,《光明日报》,2004年12月23号。
3黄子平,“早晨,北大!”,《文艺报》,2010年1月27号。
1杨匡汉,《中国当代文学》,辽宁教育出版社,2005年,第235页。
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2洪子诚,《中国当代文学史》,北京大学出版社,2006年,第225页。
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3毛泽东,《在延安文艺座谈会上的讲话》,1942年10月,解放社1949年第2版,第18-19页。
1毛泽东,《在延安文艺座谈会上的讲话》,1942年10月,解放社1949年第2版,第18页。
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1 Chen Xiaoming. The Mysterious Other: Postpolitics in Chinese Film. Boundary 2, 1997, Vol. 24, No. 3, pp. 123-141.
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4陈洁,杨宪益:云淡风清了无痕,《中华读书报》,2006年2月8号,第5版,第3页。
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2杨宪益,祝贺作家谌容入党戏作一律,见杨宪益“自嘲”(外三首),载《同舟共济》,1994年第2期,第48页。诗歌作于1981年。
1 Fredric Jameson. Third-World Literature in the Era of Multinational Capitalism, Social Text, No.15 (Autumn, 1986), p.69. in pp.65-88.
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3 David Damrosch. What is World Literature?. Princeton and Oxford: Princeton University Press, 2003, p.24.
4 Victor Hugo. Preface for the Shakespeare translations published by Francois-Victor in 1865, Translation/History/Culture: A Sourcebook, AndréLefevere ed. Routledge: London and New York, 1992, p.18.
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1 Lee Ou-fan Lee. Under the Thumb of Man, New York Times Book Review, January 18, 1987.
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1 Leo Ou-fan Lee. Contemporary Chinese Literature in Translation—A Review Article, The Journal of Asian Studies, Vol. 44, No. 3 (May, 1985), pp.561-567.
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1 Julia Lovell. Great leap forward. The Guardian, June 11, 2005.
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1 Bonnie S. McDougall and Kam Louie. The Literature of China in the Twentieth Century. New York: Columbia UP, 1997, p. 447.
2 Hightower, James Robert. Chinese Literature in the Context of World Literature, Comparative Literature, Vol. 5, No. 2 (Spring, 1953), pp. 117-124.
1 Agathocleous, Tanya and Karin Gosselink, Debt in the Teaching of World Literature: Collaboration in the Context of Uneven Development, Pedagogy: Critical Approaches to Teaching Literature Language, Composition, and Culture. Volume 6, Number 3, 2006, p.462, from pp.453-473.
2 [美]乌尔利希·韦斯坦因,《比较文学与文学理论》,辽宁人民出版社,1987年,第60-61页。
1夏志清,《中国现代小说史》,刘绍铭等译,香港中文大学出版社,2001年,第71页。
1 Valerie Miner. Review: China Imagined. The Women’s Review of Books. 1984, Vol. 1, No. 4, pp.4-5.
2艾青,美在天真——读《新凤霞回忆录》,《读书》,1980年第3期,第61-67页。
3 Irene Wettenhall. Review of Seven Contemporary Chinese Women Writers, China Affairs, No. 10 (Jul., 1983), pp.175-178.
1 JiríLevy. Translation as a decision process, The Translation Studies Reader, edited by Lawrence Venuti. Routledge: London and New York, 2000, p.148.
2廖七一,多元系统,《西方文论关键词》,赵一凡、张中载、李德恩主编,外语教学与研究出版社,2006年,第56页。
3 Gideon Toury. The nature and role of norms in literary translation, Literature and Translation, edited by James S. Holmes, Jose Lambert and van den Broeck. Leuven: Acco, 1978, pp.83-100.
1 Gideon Toury. Descriptive Translation Studies and Beyond. Amsterdam / Philadelphia: John Benjamins, 1995, pp.56-61.
2杨正泉,让世界了解中国,《书刊对外宣传的理论与实践》,新星出版社,1999年,第1页。
1 Yang Xianyi. Preface. Best Chinese Stories: 1949-1989. Chinese Literature Press, 1989.
3杨正泉,让世界了解中国,《书刊对外宣传的理论与实践》,新星出版社,1999年,第12页。1 Shen Congwen. The Border Town and Other Stories, trans., by Gladys Yang. Chinese Literature, 1981, pp. 102-119. 2 Xiao Hong. Selected Works of Xiao Hong, trans., by Howard Goldblatt. Chinese Literature, 1983. 3 Ma Aiying. Cultural Translation from Chinese to English: A Case Study of Translation and Interpretation of Selected Contemporary Texts. Science Press, 2006, p.76.
1 C.T. Hsia. Classical Chinese Literature: Its Reception Today As a Product of Traditional Culture, Chinese Literature: Essays, Articles, Reviews, Vol. 10, No. 1/2 (Jul., 1988), pp. 133-152.
1这多少说明文学与政治之间的关系已然发生了变化。与文革时期不同,新时期文学开始逐渐走向文艺自由和民主。“文学界长期以来存在的权力构成和所形成的控制方式,处在难以阻挡地逐步瓦解的过程之中。”(洪子诚著,《中国当代文学史》,北京大学出版社,2006年,第227页。)
2德里克(Arif Dirlik)在一篇评论文章中就指出,80年代的中华人民共和国燃起了西方人坚信中国走向资本主义道路的信念。(Arif Dirlik. Review: Chinese Studies at a Crossroads. Asian Studies Review. September 2004, Vol. 28, pp. 303-311.)
3 Nicole Mones. We’re Still in Love With The Romance of the Past. The Washington Post. July 27, 2008, p.B01.
3宫力,《峰谷间的震荡:1979年以来的中美关系》,中国青年出版社,1996年,第204页。
2 Michelle Yeh. World literature in review: China, World Literature Today, vol. 64, issue 1, 1990.
3 Ibid.
4陈晓明,《中国当代文学主潮》,北京大学出版社,2009年,第269-270页。
2 Stephen Haven. Book Review of The August Sleepwalker by Bei Dao. Manhattan Review, Vol 5, Issue 2,1990, pp.46-51.
3 Li Dian. Ideology and Conflicts in Bei Dao’s Poetry. Modern Chinese Literature, Vol. 9, Issue 2, 1996, pp. 369-385.
4 Vera Schwarcz. Winter’s Voice: Bei Dao. World Literature Today, Vol. 83, issue 3, 2009, pp. 4-5.
1 Stephen Owen. What Is World Poetry? The New Republic, November 19, 1990, p.31 in pp.28-32.
2 Marsden, Philip. Dust of a Nation, The Observer, June 10, 2001.
1 Stephanie Merritt. Home truths from the exile. The Observer, Sunday, May 2, 2004.
2 Alane Salierno Mason. The Noddle Maker. The Baltimore Sun, 2005.
3 Stephanie Merritt. Home truths from the exile. The Observer, Sunday, May 2, 2004.
2王德威、季进,当代文学:评论与翻译——王德威访谈录,《当代作家评论》,2008年第5期,第68-78页。
1 Bonnie S. McDougall. Fictional Authors, Imaginary Audiences: Modern Chinese Literature in the Twentieth Century. The Chinese University Press, 2003, p.33.
1 Yang Xianyi. White Tiger: An Autobiography of Yang Xianyi. The Chinese University Press, 2002, p.285.
1 Russell E. McLeod. Review of The Selected Poems and Essays of Wen Yiduo. World Literature Today. Winter 1992, Vol. 66, Issue 1, p.446.
2 Michelle Yeh. Review of The Women Trilogy by Bai Fengxi. World Literature Today. Summer 1992, Vol.66, Issue 3, p.577.
3 Bettina L. Knapp. Review of Contemporary Chinese Women Writers. (Vol. 2). World Literature Today. Autumn, 1992, Vol. 66, Issue 4, pp. 774-775.
4 Jeffrey C. Kinkley. Review of Black Snow by Liu Heng and The Heavenly Hound by Jia Pingwa. World Literature Today. Autumn, 1992, Vol. 66, Issue 4, pp. 776-777.
1 Philip F. Williams. Review of Green Bamboo Hermitage by Wu Zuxiang. World Literature Today. Autumn, 1992, Vol. 66, Issue 4, pp. 778.
2 Bettina L. Knapp. Review of Contemporary Chinese Women Writers (Vol. 3). World Literature Today. Spring 1995, Vol. 69, Issue 2, p. 432.
3 Fatima Wu. Review of Banana Vale by Ai Wu. World Literature Today. Spring 1995, Vol. 69, Issue 2, pp.431-432.
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1 M. Thomas Inge. Mo Yan Through Western Eyes, World Literature Today, Vol. 74, Issue 3, 2000, pp.501-506.
1 C.T. Hsia. Classical Chinese Literature: Its Reception Today As a Product of Traditional Culture, Chinese Literature: Essays, Articles, Reviews, Vol. 10, No. 1/2 (Jul., 1988), p. 138 in pp.133-152.
1 Jeffrey C. Kinkley. A Bibliographic Survey of Publications on Chinese Literature in Translation from 1949 to 1999, Chinese Literature: In the Second Half of a Modern Century, edited by Pang-Yuan Chi and David Der-Wei Wang. Indiana University Press, 2000, p.247.
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1 Fredric Jameson. Third-World Literature in the Era of Multinational Capitalism. Social Text, Autumn 1986, No. 15, pp. 65-88.
1 Lefevere, Andrè. Translated Literature: An Integrated Theory. The Bulletin of the Midwest Modern Language Association, (Vol. 14, No. 1, Spring, 1981), p.75 from pp.68-78.
2 McDougall, Bonnie S. Modern Chinese Literature and Its Critics, Fictional Authors, Imaginary Audiences: Modern Chinese Literature in the Twentieth Century, The Chinese University Press, 2003, p.33.
2葛浩文,“中国小说一天比一天好”,刘蓓蓓采访,《中国新闻出版报》,2008年3月26日第4版。
1郭延礼,《文学经典的翻译与解读-西方先哲的文化之旅》,山东教育出版社,2007年,第143页。
1 C.T. Hsia. Classical Chinese Literature: Its Reception Today As a Product of Traditional Culture, Chinese Literature: Essays, Articles, Reviews, Vol. 10, No. 1/2 (Jul., 1988), p. 138 in pp.133-152.
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