和合翻译观照下的服装文字语言翻译
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摘要
中国历来是个“衣冠之国”。我们的先人创造了璀璨的服饰文化,但留心阅读当今的一些时尚杂志,明显可以看出是西方在主导世界的服装思潮和服装新款,甚至连“中国风(中国民族元素的成衣化)”也主要是由西方品牌运作出来的。我国的服装出口占世界总量的24%,即每四件出口服装中就有一件是“中国制造”,遗憾的是国内没有一家自有品牌的出口额度能占到总服装出口额的0.5%。这是一个残酷的事实。问题不在服装的质量,而是我们的文字语言传播滞后了。企业人往往只重视服装本身的质量,容易忽视语言的后天包装,影响到产品融入国际市场。我们的设计师作为高考中的艺术类考生,其英文水平有着先天的不足,很难深层次地了解服装时尚的前沿理念,更不要说用英文明晰地表述出自己的设计思想;从事语言翻译的人又限于专业知识未能涉足专门用途的翻译领域,造成从业人员在语际交流中的困难和实用翻译研究中的薄弱环节。
“国家兴旺,匹夫有责”!刘宓庆先生呼吁中国译人从文化战略的高度来看待翻译,发扬清末学术翻译及明初科技翻译的传统,跳出文学翻译优先论的窠臼,走“翻译实业化”之路。在国力上升的同时,不忘将我国的优秀文化传播出去,逐渐打破西方的文化殖民、文化霸权的局面,达到本域文化输出和外域文化输入之间的平等“切换”。(2005:序1-40)
本着“拳拳之心”,作者沉心研究服装文字语言的翻译,以期为我国服装业与国际化接轨贡献自己的一份绵薄之力。现有的服装文字语言翻译研究是一块尚未开发的处女地,研究仅散落在零星的有关小说人物的服饰翻译中,深度和广度均在起始阶段,甚至没有人对服装文字语言作过基本的定性研究。有鉴于此,本文首先对服装文字语言本身做了全方位的描述,然后在21世纪“和合”生生的哲学理念导引下,采用内省思辩的研究方法,对郑海凌先生提出的“翻译和谐说”有了新的理解,构建了和合翻译的模式及其译者规范和操作原则,用于指导服装文字语言的翻译实践,同时反过来也在实践中测试、验证此理论的效能性。本研究一改以前从单点视角切入的做法,立足翻译本身,运用“和合”观照将翻译所涉及的诸因素有机地融合起来,恢复翻译本来的综合性面目,让翻译之“道”回归到实际生活的融突之中。服装文字语言的研究范围从现有的小说人物的服饰翻译扩展到服装的整个实业链条,包括服装的三要素(材料、色彩、款式)、品牌、时尚标题、宣传广告、时装秀、企业对外宣传等各个角落,力图给出服装文字语言翻译的传播全貌。
本研究的主要观点和发现有:
1)通过对服装文字语言的分析,认为其本质是一种蕴含比较多实在信息的商业广告性语言,具有“信息”、“祈使”、“审美”三大功能;地位是图象语言的一种有力的辅助手段;目的是使主体内容更加准确、具体、鲜明、突出,吸引更多人的注意力;内涵是对服装文化的描述或诠释;个性特征是综合性、信息性、描写性、修辞性、传播性、时尚性。分析表明服装文字语言是一种综合性语言,涉及众多的学科知识和复杂的人际关系,内在需要“和合”式的翻译理论做指导。
2)系统地回顾了翻译和谐说,肯定了“和谐”的翻译标准,但同时指出了该理论存在操作方法倚重译者的悟性、理性分析的程序化模式比较弱的缺点。
3)试着将“和合”理念融入“翻译和谐说”中,丰富“翻译和谐说”的内涵基础。具体有①从“和谐”到“和合”的拓展,把聚焦点从结果转移到过程。“和合起来”是一个基于主体自觉、自愿的创造性生生过程,所以翻译过程是一个参赞化育的愉悦过程。“和合”是实现“和谐”的手段,和谐则是译人孜孜以求的文本、社会、身心、文明中诸多元素、要素之间的理想关系状态。②从“结构”到“生生”的拓展,使翻译研究从封闭系统转变为开放体系。结构是静态的、封闭的、排斥个性和差异性的,而“和合生生”是“化生”和“生生不息”之意,蕴涵多样、多元的融突协调。在“和合生生”的观照下,翻译是一种译者顺应翻译的本质规律,在由衷欣赏人类创造的语际文化和语言文字、由衷爱惜作者、读者情怀中的主体创造。任何文化霸权行为、语言优越论、译者的非人文理性操控等现象都是违背“和合生生”之精神的。翻译的标准应该敞开自己,任何标准的提出都是一个“在途中”的概念,是永久性发展中的一种努力。翻译的根底是原文、译文和主体(作者、译者、读者)的和合生生体。③从“适中、得当”到“融突”的拓展,将和谐内涵从对作品结构的顺应提升到对翻译天道的顺应。“适中与得当”是和谐的核心精神,“融突”则是“和合”的真谛。差异和生是“生生”之本。差分、异质元素及多元要素经和合而生生。语内翻译、语际翻译、符际翻译,包括不同语言、不同时代、不同译者所创造的不同译本都是一种异质新生命的化生。存相与式能一体是“生生”之形。翻译是译语中的一种特有变体。因此,翻译标准不可能是完全的“等值”、“等效”或“转换”,而是“对应”。“对应”是一个强调效果和质量相当的差异体系,可以通过设立相关的参数检验译文的质量等级。冲突与融合是“生生”的超越手段。亦是翻译过程的写照。译文可以与原文竞赛,甚至局部超越,指的是译者利用语言的互补性,为恢复翻译中的均势所作的补偿性努力。汰劣与择优是“生生”的价值取向。现实层面中判断汰劣与择优的价值原则是公平、正义、合理,超越层面则是真、善、美。因此,在翻译实践中,译者需要本着“和爱”的本真,运用对称整合(中和)的方法,让原文与译文、翻译主体的利益和读者的利益、翻译学科与毗邻学科等元素、要素形成“和生、和处、和立、和达”的共荣关系,积极参与建设人类不断完善的“真、善、美”精神家园。
4)探讨了翻译和合说在东西方文化和译论上的底蕴。指出东方文化的心理结构是“天人合一论”,是主体人顺应自然规律的能动创造;工作机制是“中庸之道”,运行准则是中正适度、和而不同、修身协和;译论上的映现是“质”中兼“效”、人文调和。西方文化的心理结构是“存在实体说”,世界是一个以实体为中心的具有层级和多维关系的和谐网络;工作机制是“四因说”,质料是形式的承载体,形式是对质料的规定,质料与形式的转化动力来自目的;译论上的映现是“效”中见“质”,目的协和。在译论的追溯过程中,作者发现“和合”本来就是东西方译论的原初思维,经历了岁月的曲折洗礼,当今的译论新局面需要回归“翻译和合说”。东方的直观、模糊型艺术翻译思维要求与西方的科学翻译思维和合,而西方的客观、精确化科学翻译思维也步入了极端的误区,要求与东方的人文精神和合。
5)建构和合翻译模式。面对多元化时代翻译研究变得松散、边缘化的现状,作者指出翻译研究的真正前景在于自身内在和谐体系的建设与完善,搞清翻译的本质、过程、主要媒介、翻译所涉及的诸要素等实质性内容,找到其内在系统的运转主轴及其运转的环境。翻译是个多棱镜现象,很难建立一个万能模式囊括翻译所涉及的方方面面,比较可取的方法是建立一个与时俱进的、具有“中庸”性质的和合翻译模式,以便对现有的模式进行抽取式地优化组合,指导翻译研究与实践达到相对的理想效果。通过分析目前翻译研究领域对翻译本质的主要解释,作者找到了翻译研究中的核心概念群:“信息、符码、解释、文本、意义、对应、功能”。经过观察,作者认为只要抓住“信息”这个焦点概念就能将翻译研究中的核心概念群串联起来,显现翻译研究的全息图。然后,作者融合了拉斯韦尔的五W传播模式、贝尔的翻译交流模式、威尔伯?施拉姆的控制型传播模式、霍尔的解码模式、老子的“太极”交互动变模式,建构了和合翻译模式。这个模式显示了交流中的和合环节、和合互动回合、和合解码立场、和合双焦循环、和合立体统一等特征,可以应用于解释翻译的过程和研究。此外,模式显示译者的抉择行为贯穿于整个翻译过程和研究的始终。译者在翻译的过程中起着决定性的作用。为了规范译者的行为,作者借用了陈国明的儒学交际原则(仁、义、礼、时、位、几)框架,描述了译者的适当性行为规范。至于操作原则,作者提出了“合作—关联—顺应”的翻译策略。合作指作者、译者、读者三者之间形成平等、互利的合作局面;关联指译者通过对译语读者的知识结构、接受能力、寄予译文的期待等因素分析,有选择地对原作信息做适当的明示处理,建构最佳语境,以便读者获取最佳关联;顺应包括对语境、信道、结构客体中各个语言层面的动态顺应。翻译和合说是对翻译和谐说的拓展,除了“和谐说”原有的审美性、整体性、普遍性、辨证性、创造性以外,还有以下一些基本特征:动态性与恒量性、开放性与模糊性、传承性与层级性、创造性与超越性。创新特征是:语言价值观从语言关系到语言游戏的和合转变:真;翻译科学性(“质”)与艺术性(“效”)的和合:善;“生活形式”与人文语境的和合:美。
6)在和合翻译的观照下,探讨了服装文字语言翻译的文本解析方法。鉴于服装文字语言是一种鲜活的综合性语言,作者将之放入功能主义的大背景中进行研究,因为功能主义使语言回到了现实中。指出文本研究的可取方法是和合“双焦解析透镜”法,既注重文本结构与语言研究,也要深化文本的社会性与文化性的发掘。于是,作者讨论了文本结构翻译中的翻译单位和翻译单位的层面问题,指出翻译单位可以是词、词组、语段、整个句子,也可以是一个自然段乃至所译的整个文本,关键是能找到对应的功能。自由变换翻译单位是译者素养的体现,也是有效的翻译技巧,但除了恒定的翻译单位外,不管是从哪个层面得出的翻译形式,最终都需要经过整体功能的检验才能得到确认。继而讨论了赖斯的文本类型与翻译策略研究。指出文本类型以简洁、明了的模式为译者提供了有益的翻译策略指引,具有重要的积极意义。但仔细看,文本的分类显得有些牵强,也比较粗糙,而且赖斯的文本类型分析只有在译文功能和原文功能对等的特殊情况下才能为翻译策略的选择提供决定性的准绳,尤其是发展到后来的“异功能”对等翻译策略时,有点过过的倾向。作者吸收文本类型分析的优势,与结构分析方法和合,对服装文字语言文本进行了结构和人际行为两部分的双向解剖。文本结构解剖采用本杰明的三维解读策略:将原文当作一个“生命体”,从历史语境解读文本的概念信息,从情感语境解读文本的形象信息,再从意向语境解读文本的理念(灵韵)信息;人际行为解剖以赖斯、弗米尔、诺德的目的论理论模式为分析框架,用中庸准则平衡原文中心与读者中心的关系,探讨了发起人、译者和读者,作者、译者和读者之间的和合行为关系。
7)运用和合翻译理论指导服装文字语言的翻译实践。对理论而言,是一个检验和反馈的过程。只有经过实践的校正、提升,才能成为一个与实践相结合的理论体系。于实践而言,作者在和合之“真”的视角下,探讨了服装三要素(材料、色彩、造型)的指称词翻译特色。它们代表了三种不同类型的指称词翻译方法:材料—实体;色彩—视觉效果;造型—空间效果。以语言学中的语义场理论作为科学分析的工具探讨了服装材料指称词的翻译方法。限于篇幅,作者以纺织物指别词的研究为例。运用简单的集合原理研究了纺织物指别词汇的语义场,发现其中的上下义关系的类属指别词和多项分类对立关系的种属指别词可以用9种不同的翻译策略加以翻译,其中的部分语义重叠特征的同义聚合关系可以构成纺织物指别词翻译的一词多译维度。另外,归纳了9类与纺织物指别词相关的修饰性范畴词,共同构建了纺织物指别词翻译的能产性网络,用于翻译纺织物的基本指别词汇。色彩指称词的翻译难点在于色彩指称词的有限性和模糊性,运用原型范畴化理论中的原型及基本层次范畴规律控制色彩指称词的模糊性,探讨了色彩指称词在概念、形式和语用方面的双语转换策略,并提供了一个“红”色范畴的语际色卡对照小样。服装款式造型的翻译焦点在于传递“名”与“实”的和合特征。通过大量例子分析,作者发现了服装款式造型翻译的一些规律。在“服装或服饰”类属指称中存在“家族相似”现象,需要对“家族成员”的意义和使用语境进行仔细的辨析才能找出比较合适的对应词汇;服装基本款式按“着装人的本位规律”分类,基本款式中类属翻译可以找到对应翻译、种类翻译属于模糊翻译、部件翻译有归化倾向;“时空演化规律”对历时性和共时性的服装款式翻译具有指导意义,历时性服装款式翻译同时运用归化与异化翻译策略,共时性服装款式翻译的焦点从整体移到了部件修饰语的变化,因此,翻译时可以运用隐喻优先的翻译方法、常识型的模糊翻译方法、裁剪和衣褶的具体翻译方法。然后,作者试译了中式风格中的典型服装款式造型,并引发了对款式译名问题的现时思考:在现时,无论是直接异化还是“曲线异化”(先归化,后异化)对传播服装民族文化都是一种不可多得的贡献。
8)在“和合”之“善”的视角下,探讨了服装品牌和时尚标题的翻译特色。指出服装文字语言作为一种广告销售性语言,必然需要使用艺术化的手段增加广告的“诉求”力度;艺术效果的传递不是文字表面的瞬间凝固,主要是让读者能够联想到文字背后的意境。这就给译者留下了比较大的创作空间,需要译者凭借自己的价值观和敏锐的人文情感体悟将原文的信息和效果同时传递给读者。服装品牌翻译的创译点在于运用好“借月沾光”规律;时尚标题翻译的创译点在于运用好“新奇规律”和“时尚规律”。
9)在“和合”之“美”的视角下,探讨了服装文字语言的语篇风格翻译。语篇翻译的和合美体现在传播内容、语言翻译原则和语篇风格传递三个层面上。在传播内容上,要和合从企业的单位简介、品牌理念的诠释、设计师介绍到产品的多方位广告宣传,力求向读者展示服装企业的整个传播链环节;在翻译原则上,和合“质”和“效”;在语篇风格传递上,达到语域对应。语域是一个开放、动态的系统,充满了复杂性和译者的选择行为,况且其研究已经比较成熟,用语域对应的衡量方式作为和合翻译的微观质量评估模式不失为是一种省力高效的方法。运用语域分析的方法,认为服装文字语言的话语范围包括说明性广告语篇和描述性广告语篇两种,话语方式是通过非面对面的现代信息渠道传送,语篇语体基本上是一种“商洽”体,交际双方(企业人与消费者)是一种合作关系,都有促使交际成功的愿望。因此,说明性语篇的语体总体上是在正式、详实中体现流畅性和地道感,描述性语篇的语体是在陈述信息的基础上,运用艺术性的语言增强语篇的审美效果。但随着内容与功能的变化,语言风格也会呈现相应的变异,具体情况还要具体分析。通过分析,认为说明性广告语篇的翻译特色是合作求同,以“质”递“效”。如“企业单位简介”语篇的翻译需要与读者合作,给出语义逻辑清晰、信息层次分明的译文,并按礼貌原则,将汉语中的夸张语气调整为平实的英文风格;“品牌理念”语篇的翻译需要顺应读者的知识背景和品味;“设计师介绍”语篇的翻译需要给译文读者提供最佳关联的语境效果。描述性广告语篇的翻译特色是合作优化,“质”、“效”并茂。如流行思潮导引性语篇的翻译需要合作尊重民族文化,使差异和生,译文体现不同的措辞风格;画面陪衬型的短小广告翻译需要顺应画面,尽量使用精练的语言描述画面服装的形象,传递画面的“呼唤”功能;图文并茂型的产品广告语篇翻译需要顺应作者的匠心,传递原文的“形”、“意”共美效果;图文并茂型的新款秀报道语篇翻译需要本着和立和达的胸怀,传递原文的意境灵韵。
本研究在理论上对“翻译和谐说”进行了拓展;在实践上开辟了服装文字语言翻译的研究新领域。翻译和合说丰富了翻译和谐说的理论体系,加强了理论的解释力度;服装文字语言翻译则为和合翻译理论提供了实践中的用武之地,验证了理论的指导作用。总之,本研究为现有的翻译研究提供了一种不断探索、永恒发展的动态、开放式理念;服装文字语言的应用翻译探索则直接对翻译教育研究、实业翻译及其传播具有借鉴和指导意义。
China has long been a“nation of garment”. Our ancestors have created rich garment culture, however, if you read current fashion magazines, you are sure to find that it is the western countries who are leading the world’s garment trend and fashion, even“China Chic”(the expression of Chinese traditional elements in garment) is mainly operated by western brands. While our garment export accounts for 24% of the world’s garment exports, i.e., one out of four export clothes is“made in China”, it is a pity there’s no brand of our own can take a 0.5% share of the total garment export. This is a hard fact. The problem lies in our laggard communication rather than in garment quality. People in the clothing industry usually focus on the quality only and neglect the making up of language, and this affects their products going into the international market. Our designers, mostly from art students, are innately weak in their English language ability and thus it is hard for them to understand thoroughly the up-to-date concept and perception heralding the fashion industry, let alone to illustrate their own concept of design precisely in English; in the mean time, people who are engaged in translation are limited in professional-application fields because of lacking professional knowledge. The above elements work together to make the practical difficulties in communication and the weak links in pragmatic translation study.
“Everyone is responsible for the prosperity of his/her motherland.”Mr. Liu Miqing (2005) appeals to Chinese translators to take translation as a task related to the cultural strategy, to carry forward the tradition of late Qing dynasty academic translation and early Ming dynasty science translation and to shift the priority from literature translation to“translation industrialization”. While our national power is growing, we shall not forget to spread our excellent culture and gradually break the status of western cultural colonization and cultural hegemony to achieve an equal exchange between the import of foreign culture and export of national culture.
With an earnest heart, the author has been diving into garment written language translation, hoping to contribute her share to bringing Chinese garment industry in line with international practice. The existing garment written language translation study remains an unexplored frontier, with research on which scatters in bits of pieces of garment translation in fiction characters. The depth and scope are both far from adequacy, even lack of basic qualitative research on garment written language.
Taking the present situation into account, the paper, among other things, offers a complete description of garment written language, followed by the establishment of a rather pragmatic framework of“the Reconciliation Translation Theory”with its operating strategies and constraints for the translator’s actions. The theory is enlightened by the philosophic conception of“hehe (meaning growing harmony via reconciliation)”in the twenty first century and is constructed in an introspective research way. It works as a development for“the Harmonious Translation Theory”proposed by Mr. Zheng Hailin. Then, the author employs the Reconciliation Translation Theory to conduct the translation practice of garment written language, meanwhile, to test and verify the effectiveness and efficiency of the theory in practice. In contrast to the conventional way of dealing a topic from a single perspective, the research bases itself upon translatology, and systematically integrates translational elements concerned by showing the true colors of translation as a comprehensive subject. In this way, the author resumes the“Tao”of translation to the contradictions and reconciliations in real life. The scope of the garment written language research ranges from the existing garment translation of fiction characters to the entire garment industry chain, including the translation of the referential words for the three key factors of garment (material, color and style), brand names, fashion headlines, advertising texts, fashion show reports, enterprises’communication texts of foreign exchange, etc., thereby, trying to offer a complete picture of garment written language translation in communication.
The main points and findings of the research are as follows:
Firstly, through a careful analysis of garment written language, the author finds that it is a commercial advertising language in essence containing relatively more true-to-life information compared to that of a typical advertising language. It has three functions: informative, vocative and aesthetic. It is an effective complementary device to the drawing or picture language in the whole garment communication language system. Its goal is to help the target item express itself more accurate, more specific, more distinctive and more prominent, with a result of drawing more attention from the mass consumers. Its connotation is the description or interpretation of the garment culture and it has the characteristics of being comprehensive, informative, descriptive, figurative, communicative and fashionable. Being a comprehensive language, it involves knowledge from various subjects and has a very complicated interpersonal relation network, thus it needs the guidance of a reconciliation translation theory in its translation practice.
Secondly, the author systematically reviews the Harmonious Translation Theory and affirms the translation criterion of“harmony”. Nevertheless, the author points out that the flaw of the theory lies in its application relying too much on the perception of the translator and that it is week in the formalized mode for rational analysis.
Thirdly, the author tentatively integrates the conception of“reconciliation”into the Harmonious Translation Theory to enrich the connotation basis of the latter. To be specific: 1) Development from“harmony”to“reconciliation”shifts the focus from result to process.“Reconciling”is a process of growing based on the creativity of a conscious and voluntary subject. In the light of“reconciling”, translation becomes a pleasant activity involving the translator’s participation in fostering and creating international cultures.“Reconciliation”is the means to reach“harmony”, while“harmony”is an ideal relationship which the translator seeks among various factors and elements in text, society, body and mind, culture. 2) Development from“structures”to“living and changing”turns translation study from a closed system to an open one. Structure is static and closed, excluding individuality and diversity whereas reconciliation embodying the concept of“living and changing”allows the integration of diversity and multiple variables. In the view of reconciling translation, translation is a subjective recreation following the innate law of translation and accomplished by the translator’s sincere admiration for international culture and human languages, together with his/her heart felt cherishing towards the feelings of both the writer and the reader. Any attempt of cultural hegemony, language superiority view and the irrational operation of the translator is a violation of the reconciling spirit. The Reconciliation Translation Theory holds that the criteria of translation should be open. Any proposed criterion is a concept of“being on the way”, signifying an effort or contribution to its perpetual development. The base of translation is a living and changing reconciliation of the original text, the target text and the subject including the author, the translator and the reader. 3) Development from being moderate and proper to“living and changing reconciliation”promotes the connotation of harmony from conformance with the structure of the work to conformance with the nature of translation.“Moderation and properness”is the core of the Harmonious Translation Theory while“living and changing reconciliation”is the working principle of the Reconciliation Translation Theory. In the Reconciliation Translation Theory, the essence of reconciliation is the coexistence of diversities. Differences, heterogeneous elements and multiple variables get grown through reconciliation. Intra-lingual translation, inter-lingual translation and intersemiotic translation, including different translation versions of different languages, different ages and by different translators, are variations of a newly-fostered heterogeneous life. The outlook of reconciliation is the integration of both the form and its in-depth structure. Translation is a special variation in the target language. So it is impossible to take identical equivalence or identical effect or complete transfer to serve as a criterion for translation. A preferable way is to use the concept of“correspondence”which is a diversified system focusing on the coordinated equivalence of quality and effect. Such a system allows the making of related parameters to determine the quality grade of the translation. The goal of reconciliation is transcendence, which is coincidently the portrait of the translation process. The statement that the target text may compete with and even partially exceed the original text actually means the translator’s compensation efforts to resume the balance in translation by making use of the reciprocity of different languages. The value orientation of reconciliation is to develop the superior and weeding out the inferior. The operating value principle in the realistic aspect to decide the superior or the inferior is fairness, justice and reasonableness and in the transcending aspect is truth, virtue and beauty. Therefore, in the translation practice, the translator should exercise the method of symmetry and conformity with a heart for peace and love to balance factors and elements such as the original text and the target text, the interests of the translation initiator or translator and the reader, translatology and adjacent disciplines to achieve the harmony of co-existence, co-living in peace, co-growing, co-developing and with mutual prosperity. Every translator is encouraged to take part in the construction of the ever-perfecting spiritual home to all human beings.
Fourthly, the author traces the origin of the Reconciliation Translation Theory in the eastern and western cultures, as well as in their translation studies. The author points out that the psychological structure of the eastern culture is the unity of man and nature, which advocates man’s active creation based on the natural working rules. The working mechanism of reconciliation is“the doctrine of the mean”, which specifies itself as properness, harmony in diversity and cultivating one’s morality for harmony. The reflection of reconciliation in translation studies is the harmony of“quality”and“effect”in the light of humanism. The psychological structure of the western culture is Ontology (theory of existence), in which the world is an entity-centered harmonious network consisting levels and multi-relations. The working mechanism is“four-cause hypothesis”, which maintains that material is the vehicle of form, and form is the regulation on material, the transform between material and form being motivated by the purpose. The reflection of reconciliation in translation studies is the harmony of“effect”and“quality”in the light of purpose. Regardless of the east and the west, the original thought about translation is reconciliation. After a long period of development either in the right direction or in a divergent one, the current situation of translation studies needs to return to the Reconciliation Translation Theory. Both the eastern fuzzy, artistic way of translation which depends much on the translator’s experience and the western rational, precise scientific way of translation which lacks adequate humane concerns call for the reconciliation of each other.
Fifthly, the author builds up the Reconciliation Translation Model. Facing the reality that translation study is falling loose and marginalized in a pluralistic age, the author points out that the promising future for translation study is the construction and perfection of its own internal harmonious system. It is essential to make clear such matters as the nature, process, main media and factors concerning translation and to find out the operating axis of its internal system and its operating environment. Translation is a multi-prism phenomenon, thus it is difficult to build an omnipotent model to include the various aspects relating to translation. The realistic way is to build a reconciliation translation model, which keeps up with the times, and is of the“mean-adaptation”nature so that it can guide the translation study and practice to a relatively ideal result by optimizing the current translation modes or models. Through the analysis of the prevailing explanations to the nature of translation in current translation research field, the author obtains the core concept cluster in translation which includes“information, symbol, interpretation, text, meaning, correspondence and function”. After careful observation, the author concludes that the core concept cluster can be combined together once the key concept of“information”is to be made as a focus and this focus is able to provide a holograph of both the translation study and practice. Then, the author optimizes the Lasswell’s 5W model, Bell’s translation communication model, Wilbur Schramm’s transmission model based on the theory of control, Hall’s decoding model, and Lao Tzu’s“Taiji”interactive model to build up the Reconciliation Translation Model for the interpretation of translation process and studies. This model, including the reconciling links in communication, reconciling rounds of interactions, reconciling decoding positions, reconciling double-focus circulations and reconciling three-dimension unity, is applicable to the interpretation of translation study and practice. Besides, the newly-built model shows that the translator’s selective decision lasts the whole translation study or practice process. Clearly the translator performs the decisive role in the translating. In order to regulate the translator’s behaviors, the author employs the framework of Confucian communication rules proposed by Chen Guoming. The rules include humanism, appropriateness, rite, temporal contingencies, spatial contingencies and the first imperceptible beginning of movement. Based on these rules, the author describes how the translator behavior appropriately. As for the operating rules for the Reconciliation Translation Model, the author proposes the“cooperation–relevance–adaptation”translation strategies. Here, cooperation refers to the equal and mutual beneficial coordination between the writer, the translator and the reader; Relevance means that the translator makes some of the original information explicit to an adequate extent which is based on the analysis on such cognitive factors as the knowledge structure, reception capability and expectation of the translation of the target reader. In other words, the translator provides the target reader with optimal context so that the reader can understand the information with their least cognitive effort. Adaptation means the dynamic adjustment to every lingual dimension in terms of context, communication channel and the structural object. The Reconciliation Translation Theory, as the development of the Harmonious Translation Theory, presents the following basic features besides its original ones such as aesthetics, integrity, universality, dialectic and creativity: being dynamic and consistency, openness and fuzziness, heredity and levels, creativity and transcending. The innovative features are as follows: the reconciliation transfer of language value from language relationship to language game reflects the translator’s pursuit for truth; the reconciliation of scientific translation and artistic translation reflects the translator’s pursuit for excellence; the reconciliation of life style and humane context reflects the translator’s pursuit for the beauty in human nature.
Sixthly, in the view of the Reconciliation Translation Theory, the author discusses the methods for text analysis in garment written language translation. Considering that it is a live comprehensive language, the author puts it in the background of functionalism, which studies texts grounded on reality. The preferable way to study text analysis is to use“bifocal analyzing lens”method, which pays attention not only to the analysis of structures and languages of the texts, but also to the exploration of the social and cultural aspects of texts. Thereupon, the author looks into the problems relating to the translation units and the levels of translation units in the structural translation, pointing out that translation units could be a word, a phrase, a sentence, a paragraph or the entire text depending on the corresponding function between the source text and the target text. Free switching among different translation units shows the translator’s capability in the translation, and proves to be an effective translation skill in practice. However, except invariable translation units, translation format from whatever level is to be finally affirmed by the verification of the whole integrative function. Furthermore, the author looks into Reiss’research on the relationship of text typology and its corresponding translation strategies. The merits of the text typology study is that it gives the translator favorable guidance on the choice of translation strategies with its concise and clear patterns. However, seen carefully, the classification of texts seems to be a bit of being arbitrarily and the classifications are not precise. What is more, Reiss’text typology works only on the special condition when the target text and the original text are of equal functions. Especially, when her method develops into the adoption of the correspondence strategies in the name of“heterofunction”, it goes a bit too far. Therefore, the author prefers to take the merits of text typology analysis and combines them with the advantage of structure analysis to conduct a two-dimensional analysis of the garment written language. In the aspect of textual structural analysis, the author adopts the three-dimensional interpretation strategy of Benjamin, i.e. taking the original text as a“living entity”, interpreting the conceptual information of the text in the historical context, the visual information of the text in the emotional context, and the aura information of the text in the humane context. As for the interpersonal actions analysis, the author uses the Skopos theory by Reiss, Vermeer, and Nord, and balances the relationship between the original-text-centered orientation and target-reader-centered orientation with the principal of moderation. Based on that, the author discusses the reconciling behaviors in the interpersonal relationship among the group of the initiator, the translator and the reader and the group of the author, the translator and the reader.
Seventhly, the author applies the Reconciliation Translation Theory to the translation practice of garment written language. For the theory, this is a process of verification and feedback, since only through practical revision and upgrade can it turn into a feasible and empirical theory. For the translation practice, the translation of referential words of the three key elements for garment, i.e. material, color and style is discussed in the light of the translator’s pursuit for truth. These three elements represent three different methods for translating referential words, since material represents entity, color visual effect and style spatial effect. The translation of material referential words is conducted with semantic field theory in linguistics. Due to the limited space of the paper, the author takes the translation of fabric denotative words as an example. The semantic field of denotative words for fabrics is studied in terms of simple set theory. Nine types of translating methods is concluded for translating generic denotative words in hyponymy and species’denotative words in multiple taxonomy and the words in multiple synonymy is found to constitute one word’s multiple translating dimensions. Furthermore, nine decorative words categories are classified for fabrics’denotative words and a productive network is constructed for translating fabrics’basic denotative words. The difficulties for translating color referential words lie in its fuzziness. The theory of prototypes and basic-level structures in categorization is used to control effectively the fuzziness of color referential words. The intra-lingual transfer strategies of color referential words are discussed in terms of concept, form and pragmatic use and a sample of inter-language color card of the“red”category is provided. The focus of garment design and style translation is how to transfer the reconciling features of“the name”and its“spatial image”. The author finds some peculiar rules for the translation of garment design and style through the analysis of a great number of examples. The phenomenon of“family resemblance”exists in the generic referential words and these words needs to be carefully differentiated in their semantic and pragmatic aspects in order to find suitable corresponding words. The basic garment styles are categorized according to“the standard rule of the dressing people”. Generally speaking, the words of generic style in the basic type can find their corresponding equivalents in translation. The variety-type translation belongs to fussy translation and the garment component translation exhibits a tendency of domestication.“The time-and-space development rule”is of guiding importance to the diachronic and synchronic garment design translation. Diachronic garment design translation exercises the translation strategy of domestication and foreignization together while the focus of synchronic garment design translation shifts from the integrity to the change of composition modifiers. When doing the composition modifiers translation, one can adopt the metaphor priority translation method and commonsensible fuzzy translation method as well as the concrete translation method for translating cuttings and draperies. The author further does a tentative translation of some typical Chinese garment styles which generates some thinking about the translation of garment style names for the moment. So far as the present situation of garment written language translation is concerned, both direct foreignization and“roundabout foreignization”(i.e. foreignizaton following domestication) are appreciated to the spread of our national garment culture.
Eighthly, the Reconciling Translation Theory is applied to the translation practice of Garment brand names and fashion headlines. As a commercial advertising language, it is inevitable to employ figurative means to enhance the“appealing power”of the advertisement. The transfer of artistic effect does not mean the mere transfer of the literal words, but aims at providing the readers with the mood of literal works, thus leaving the translator much room for recreation. The translator needs to transfer to the reader the original information and effect with his/her own values, sensitive feelings and appreciation taste. The creative point for garment brand-name translation lies in the good command of the rule“borrowing power”, while that for fashion-headline translation is to make good use of the“novel rule”and“fashion rule”.
Ninthly, the reconciling translation of garment discourse style is discussed in the light of the translator’s pursuit for the beauty in human nature. The humane beauty is reflected in the following three levels: the communication content, translation principles and the delivery of discourse style. The content includes various discourses concerning all the links in the chain of garment industry introduction, namely, the brief introduction of the enterprise, the interpretation of brand concept, the introduction of the leading designers, as well as various ways for introducing or advertising the products, so that the reader can have a thorough understanding of the product. Translation principles reconcile“quality”and“effect”, which is balanced and desirable. The delivery of discourse style prefers to adopt register correspondence. Register is an open and dynamic system, full of complexity and the translator’s decision makings. Besides, it is quite a fruitful field in terms of research; thereby it can serve as a micro-verification model for the Reconciliation Translation Theory to offer guidance in the discourse translation of the garment written language. Through register analysis, the author finds the field of discourse covers both introductory advertising discourse and descriptive advertising discourse. The mode of discourse is via modern information channel in a non face-to-face situation. The style is of a negotiating tone. The tenor of discourse involves the enterpriser and the consumer, the relationship of whom is cooperative, for both sides cherish the wish for successful communication. Therefore, on the whole scale, the style of the introductory discourse is formal with detailed information, the language of which reads fluent and idiomatic, whereas the descriptive discourse tends to highlight the aesthetic effect through the use of figurative language to illustrate the information. Nevertheless, the style changes with the changes of the content and the function of the discourse. Difference generates a great range of varieties, all depending on the live target cases. Based on the careful analysis of the examples, the translation features of the introductory discourse are the reconciliation of“quality”and“effect”through the cooperative effort for mutual benefits. To be specific, the translation of the brief introduction of the enterprise is to offer a translation version which is clearly logic in meaning, accurate and specific in information, and adjust the Chinese exaggerating tone to the English plain tone; the translation of the interpretation of garment brand conception is to provide detailed information to meet the target reader’s knowledge structure and reading habits; the translation of designer introduction is to give the target reader optimal relevance in context. The translation features of the descriptive discourse are also the reconciliation of“quality”and“effect”through cooperation and optimization. To be specific, the translation of the fashion-fostering discourse is to balance the cultural touches with wits, allowing the existence of diversities to show respect for both the national and foreign cultures; the translation of the short advertisement set with pictures is to deliver the“vocative’function by using refined words to highlight the garment style; the translation of the advertisements, in which the written language receives the same attention as that of a drawing or a picture, is to offer the reconciliation of both the form and meaning; finally, the translation of the fashion-show reports is to render the target reader the dynamic effect of the latest garment style.
This study is a development to the Harmonious Translation Theory, and also pioneers a new empirical field in the garment written language translation. The study theoretically enriches the connotation of the Harmonious Translation Theory by the establishment of the Reconciliation Translation Theory and thereby increases the interpretation power. The empirical study of the garment written language translation tests and verifies the feasibility of the Reconciliation Translation Theory. In short, this study theoretically presents a dynamic and open conception to develop continuously and perfect perpetually the existing translation theories; empirically the practical study of the garment written language translation sheds light on classroom translation teaching, translation industry and the related intra-lingual communication.
“国家兴旺,匹夫有责”!刘宓庆先生呼吁中国译人从文化战略的高度来看待翻译,发扬清末学术翻译及明初科技翻译的传统,跳出文学翻译优先论的窠臼,走“翻译实业化”之路。在国力上升的同时,不忘将我国的优秀文化传播出去,逐渐打破西方的文化殖民、文化霸权的局面,达到本域文化输出和外域文化输入之间的平等“切换”。(2005:序1-40)
本着“拳拳之心”,作者沉心研究服装文字语言的翻译,以期为我国服装业与国际化接轨贡献自己的一份绵薄之力。现有的服装文字语言翻译研究是一块尚未开发的处女地,研究仅散落在零星的有关小说人物的服饰翻译中,深度和广度均在起始阶段,甚至没有人对服装文字语言作过基本的定性研究。有鉴于此,本文首先对服装文字语言本身做了全方位的描述,然后在21世纪“和合”生生的哲学理念导引下,采用内省思辩的研究方法,对郑海凌先生提出的“翻译和谐说”有了新的理解,构建了和合翻译的模式及其译者规范和操作原则,用于指导服装文字语言的翻译实践,同时反过来也在实践中测试、验证此理论的效能性。本研究一改以前从单点视角切入的做法,立足翻译本身,运用“和合”观照将翻译所涉及的诸因素有机地融合起来,恢复翻译本来的综合性面目,让翻译之“道”回归到实际生活的融突之中。服装文字语言的研究范围从现有的小说人物的服饰翻译扩展到服装的整个实业链条,包括服装的三要素(材料、色彩、款式)、品牌、时尚标题、宣传广告、时装秀、企业对外宣传等各个角落,力图给出服装文字语言翻译的传播全貌。
本研究的主要观点和发现有:
1)通过对服装文字语言的分析,认为其本质是一种蕴含比较多实在信息的商业广告性语言,具有“信息”、“祈使”、“审美”三大功能;地位是图象语言的一种有力的辅助手段;目的是使主体内容更加准确、具体、鲜明、突出,吸引更多人的注意力;内涵是对服装文化的描述或诠释;个性特征是综合性、信息性、描写性、修辞性、传播性、时尚性。分析表明服装文字语言是一种综合性语言,涉及众多的学科知识和复杂的人际关系,内在需要“和合”式的翻译理论做指导。
2)系统地回顾了翻译和谐说,肯定了“和谐”的翻译标准,但同时指出了该理论存在操作方法倚重译者的悟性、理性分析的程序化模式比较弱的缺点。
3)试着将“和合”理念融入“翻译和谐说”中,丰富“翻译和谐说”的内涵基础。具体有①从“和谐”到“和合”的拓展,把聚焦点从结果转移到过程。“和合起来”是一个基于主体自觉、自愿的创造性生生过程,所以翻译过程是一个参赞化育的愉悦过程。“和合”是实现“和谐”的手段,和谐则是译人孜孜以求的文本、社会、身心、文明中诸多元素、要素之间的理想关系状态。②从“结构”到“生生”的拓展,使翻译研究从封闭系统转变为开放体系。结构是静态的、封闭的、排斥个性和差异性的,而“和合生生”是“化生”和“生生不息”之意,蕴涵多样、多元的融突协调。在“和合生生”的观照下,翻译是一种译者顺应翻译的本质规律,在由衷欣赏人类创造的语际文化和语言文字、由衷爱惜作者、读者情怀中的主体创造。任何文化霸权行为、语言优越论、译者的非人文理性操控等现象都是违背“和合生生”之精神的。翻译的标准应该敞开自己,任何标准的提出都是一个“在途中”的概念,是永久性发展中的一种努力。翻译的根底是原文、译文和主体(作者、译者、读者)的和合生生体。③从“适中、得当”到“融突”的拓展,将和谐内涵从对作品结构的顺应提升到对翻译天道的顺应。“适中与得当”是和谐的核心精神,“融突”则是“和合”的真谛。差异和生是“生生”之本。差分、异质元素及多元要素经和合而生生。语内翻译、语际翻译、符际翻译,包括不同语言、不同时代、不同译者所创造的不同译本都是一种异质新生命的化生。存相与式能一体是“生生”之形。翻译是译语中的一种特有变体。因此,翻译标准不可能是完全的“等值”、“等效”或“转换”,而是“对应”。“对应”是一个强调效果和质量相当的差异体系,可以通过设立相关的参数检验译文的质量等级。冲突与融合是“生生”的超越手段。亦是翻译过程的写照。译文可以与原文竞赛,甚至局部超越,指的是译者利用语言的互补性,为恢复翻译中的均势所作的补偿性努力。汰劣与择优是“生生”的价值取向。现实层面中判断汰劣与择优的价值原则是公平、正义、合理,超越层面则是真、善、美。因此,在翻译实践中,译者需要本着“和爱”的本真,运用对称整合(中和)的方法,让原文与译文、翻译主体的利益和读者的利益、翻译学科与毗邻学科等元素、要素形成“和生、和处、和立、和达”的共荣关系,积极参与建设人类不断完善的“真、善、美”精神家园。
4)探讨了翻译和合说在东西方文化和译论上的底蕴。指出东方文化的心理结构是“天人合一论”,是主体人顺应自然规律的能动创造;工作机制是“中庸之道”,运行准则是中正适度、和而不同、修身协和;译论上的映现是“质”中兼“效”、人文调和。西方文化的心理结构是“存在实体说”,世界是一个以实体为中心的具有层级和多维关系的和谐网络;工作机制是“四因说”,质料是形式的承载体,形式是对质料的规定,质料与形式的转化动力来自目的;译论上的映现是“效”中见“质”,目的协和。在译论的追溯过程中,作者发现“和合”本来就是东西方译论的原初思维,经历了岁月的曲折洗礼,当今的译论新局面需要回归“翻译和合说”。东方的直观、模糊型艺术翻译思维要求与西方的科学翻译思维和合,而西方的客观、精确化科学翻译思维也步入了极端的误区,要求与东方的人文精神和合。
5)建构和合翻译模式。面对多元化时代翻译研究变得松散、边缘化的现状,作者指出翻译研究的真正前景在于自身内在和谐体系的建设与完善,搞清翻译的本质、过程、主要媒介、翻译所涉及的诸要素等实质性内容,找到其内在系统的运转主轴及其运转的环境。翻译是个多棱镜现象,很难建立一个万能模式囊括翻译所涉及的方方面面,比较可取的方法是建立一个与时俱进的、具有“中庸”性质的和合翻译模式,以便对现有的模式进行抽取式地优化组合,指导翻译研究与实践达到相对的理想效果。通过分析目前翻译研究领域对翻译本质的主要解释,作者找到了翻译研究中的核心概念群:“信息、符码、解释、文本、意义、对应、功能”。经过观察,作者认为只要抓住“信息”这个焦点概念就能将翻译研究中的核心概念群串联起来,显现翻译研究的全息图。然后,作者融合了拉斯韦尔的五W传播模式、贝尔的翻译交流模式、威尔伯?施拉姆的控制型传播模式、霍尔的解码模式、老子的“太极”交互动变模式,建构了和合翻译模式。这个模式显示了交流中的和合环节、和合互动回合、和合解码立场、和合双焦循环、和合立体统一等特征,可以应用于解释翻译的过程和研究。此外,模式显示译者的抉择行为贯穿于整个翻译过程和研究的始终。译者在翻译的过程中起着决定性的作用。为了规范译者的行为,作者借用了陈国明的儒学交际原则(仁、义、礼、时、位、几)框架,描述了译者的适当性行为规范。至于操作原则,作者提出了“合作—关联—顺应”的翻译策略。合作指作者、译者、读者三者之间形成平等、互利的合作局面;关联指译者通过对译语读者的知识结构、接受能力、寄予译文的期待等因素分析,有选择地对原作信息做适当的明示处理,建构最佳语境,以便读者获取最佳关联;顺应包括对语境、信道、结构客体中各个语言层面的动态顺应。翻译和合说是对翻译和谐说的拓展,除了“和谐说”原有的审美性、整体性、普遍性、辨证性、创造性以外,还有以下一些基本特征:动态性与恒量性、开放性与模糊性、传承性与层级性、创造性与超越性。创新特征是:语言价值观从语言关系到语言游戏的和合转变:真;翻译科学性(“质”)与艺术性(“效”)的和合:善;“生活形式”与人文语境的和合:美。
6)在和合翻译的观照下,探讨了服装文字语言翻译的文本解析方法。鉴于服装文字语言是一种鲜活的综合性语言,作者将之放入功能主义的大背景中进行研究,因为功能主义使语言回到了现实中。指出文本研究的可取方法是和合“双焦解析透镜”法,既注重文本结构与语言研究,也要深化文本的社会性与文化性的发掘。于是,作者讨论了文本结构翻译中的翻译单位和翻译单位的层面问题,指出翻译单位可以是词、词组、语段、整个句子,也可以是一个自然段乃至所译的整个文本,关键是能找到对应的功能。自由变换翻译单位是译者素养的体现,也是有效的翻译技巧,但除了恒定的翻译单位外,不管是从哪个层面得出的翻译形式,最终都需要经过整体功能的检验才能得到确认。继而讨论了赖斯的文本类型与翻译策略研究。指出文本类型以简洁、明了的模式为译者提供了有益的翻译策略指引,具有重要的积极意义。但仔细看,文本的分类显得有些牵强,也比较粗糙,而且赖斯的文本类型分析只有在译文功能和原文功能对等的特殊情况下才能为翻译策略的选择提供决定性的准绳,尤其是发展到后来的“异功能”对等翻译策略时,有点过过的倾向。作者吸收文本类型分析的优势,与结构分析方法和合,对服装文字语言文本进行了结构和人际行为两部分的双向解剖。文本结构解剖采用本杰明的三维解读策略:将原文当作一个“生命体”,从历史语境解读文本的概念信息,从情感语境解读文本的形象信息,再从意向语境解读文本的理念(灵韵)信息;人际行为解剖以赖斯、弗米尔、诺德的目的论理论模式为分析框架,用中庸准则平衡原文中心与读者中心的关系,探讨了发起人、译者和读者,作者、译者和读者之间的和合行为关系。
7)运用和合翻译理论指导服装文字语言的翻译实践。对理论而言,是一个检验和反馈的过程。只有经过实践的校正、提升,才能成为一个与实践相结合的理论体系。于实践而言,作者在和合之“真”的视角下,探讨了服装三要素(材料、色彩、造型)的指称词翻译特色。它们代表了三种不同类型的指称词翻译方法:材料—实体;色彩—视觉效果;造型—空间效果。以语言学中的语义场理论作为科学分析的工具探讨了服装材料指称词的翻译方法。限于篇幅,作者以纺织物指别词的研究为例。运用简单的集合原理研究了纺织物指别词汇的语义场,发现其中的上下义关系的类属指别词和多项分类对立关系的种属指别词可以用9种不同的翻译策略加以翻译,其中的部分语义重叠特征的同义聚合关系可以构成纺织物指别词翻译的一词多译维度。另外,归纳了9类与纺织物指别词相关的修饰性范畴词,共同构建了纺织物指别词翻译的能产性网络,用于翻译纺织物的基本指别词汇。色彩指称词的翻译难点在于色彩指称词的有限性和模糊性,运用原型范畴化理论中的原型及基本层次范畴规律控制色彩指称词的模糊性,探讨了色彩指称词在概念、形式和语用方面的双语转换策略,并提供了一个“红”色范畴的语际色卡对照小样。服装款式造型的翻译焦点在于传递“名”与“实”的和合特征。通过大量例子分析,作者发现了服装款式造型翻译的一些规律。在“服装或服饰”类属指称中存在“家族相似”现象,需要对“家族成员”的意义和使用语境进行仔细的辨析才能找出比较合适的对应词汇;服装基本款式按“着装人的本位规律”分类,基本款式中类属翻译可以找到对应翻译、种类翻译属于模糊翻译、部件翻译有归化倾向;“时空演化规律”对历时性和共时性的服装款式翻译具有指导意义,历时性服装款式翻译同时运用归化与异化翻译策略,共时性服装款式翻译的焦点从整体移到了部件修饰语的变化,因此,翻译时可以运用隐喻优先的翻译方法、常识型的模糊翻译方法、裁剪和衣褶的具体翻译方法。然后,作者试译了中式风格中的典型服装款式造型,并引发了对款式译名问题的现时思考:在现时,无论是直接异化还是“曲线异化”(先归化,后异化)对传播服装民族文化都是一种不可多得的贡献。
8)在“和合”之“善”的视角下,探讨了服装品牌和时尚标题的翻译特色。指出服装文字语言作为一种广告销售性语言,必然需要使用艺术化的手段增加广告的“诉求”力度;艺术效果的传递不是文字表面的瞬间凝固,主要是让读者能够联想到文字背后的意境。这就给译者留下了比较大的创作空间,需要译者凭借自己的价值观和敏锐的人文情感体悟将原文的信息和效果同时传递给读者。服装品牌翻译的创译点在于运用好“借月沾光”规律;时尚标题翻译的创译点在于运用好“新奇规律”和“时尚规律”。
9)在“和合”之“美”的视角下,探讨了服装文字语言的语篇风格翻译。语篇翻译的和合美体现在传播内容、语言翻译原则和语篇风格传递三个层面上。在传播内容上,要和合从企业的单位简介、品牌理念的诠释、设计师介绍到产品的多方位广告宣传,力求向读者展示服装企业的整个传播链环节;在翻译原则上,和合“质”和“效”;在语篇风格传递上,达到语域对应。语域是一个开放、动态的系统,充满了复杂性和译者的选择行为,况且其研究已经比较成熟,用语域对应的衡量方式作为和合翻译的微观质量评估模式不失为是一种省力高效的方法。运用语域分析的方法,认为服装文字语言的话语范围包括说明性广告语篇和描述性广告语篇两种,话语方式是通过非面对面的现代信息渠道传送,语篇语体基本上是一种“商洽”体,交际双方(企业人与消费者)是一种合作关系,都有促使交际成功的愿望。因此,说明性语篇的语体总体上是在正式、详实中体现流畅性和地道感,描述性语篇的语体是在陈述信息的基础上,运用艺术性的语言增强语篇的审美效果。但随着内容与功能的变化,语言风格也会呈现相应的变异,具体情况还要具体分析。通过分析,认为说明性广告语篇的翻译特色是合作求同,以“质”递“效”。如“企业单位简介”语篇的翻译需要与读者合作,给出语义逻辑清晰、信息层次分明的译文,并按礼貌原则,将汉语中的夸张语气调整为平实的英文风格;“品牌理念”语篇的翻译需要顺应读者的知识背景和品味;“设计师介绍”语篇的翻译需要给译文读者提供最佳关联的语境效果。描述性广告语篇的翻译特色是合作优化,“质”、“效”并茂。如流行思潮导引性语篇的翻译需要合作尊重民族文化,使差异和生,译文体现不同的措辞风格;画面陪衬型的短小广告翻译需要顺应画面,尽量使用精练的语言描述画面服装的形象,传递画面的“呼唤”功能;图文并茂型的产品广告语篇翻译需要顺应作者的匠心,传递原文的“形”、“意”共美效果;图文并茂型的新款秀报道语篇翻译需要本着和立和达的胸怀,传递原文的意境灵韵。
本研究在理论上对“翻译和谐说”进行了拓展;在实践上开辟了服装文字语言翻译的研究新领域。翻译和合说丰富了翻译和谐说的理论体系,加强了理论的解释力度;服装文字语言翻译则为和合翻译理论提供了实践中的用武之地,验证了理论的指导作用。总之,本研究为现有的翻译研究提供了一种不断探索、永恒发展的动态、开放式理念;服装文字语言的应用翻译探索则直接对翻译教育研究、实业翻译及其传播具有借鉴和指导意义。
China has long been a“nation of garment”. Our ancestors have created rich garment culture, however, if you read current fashion magazines, you are sure to find that it is the western countries who are leading the world’s garment trend and fashion, even“China Chic”(the expression of Chinese traditional elements in garment) is mainly operated by western brands. While our garment export accounts for 24% of the world’s garment exports, i.e., one out of four export clothes is“made in China”, it is a pity there’s no brand of our own can take a 0.5% share of the total garment export. This is a hard fact. The problem lies in our laggard communication rather than in garment quality. People in the clothing industry usually focus on the quality only and neglect the making up of language, and this affects their products going into the international market. Our designers, mostly from art students, are innately weak in their English language ability and thus it is hard for them to understand thoroughly the up-to-date concept and perception heralding the fashion industry, let alone to illustrate their own concept of design precisely in English; in the mean time, people who are engaged in translation are limited in professional-application fields because of lacking professional knowledge. The above elements work together to make the practical difficulties in communication and the weak links in pragmatic translation study.
“Everyone is responsible for the prosperity of his/her motherland.”Mr. Liu Miqing (2005) appeals to Chinese translators to take translation as a task related to the cultural strategy, to carry forward the tradition of late Qing dynasty academic translation and early Ming dynasty science translation and to shift the priority from literature translation to“translation industrialization”. While our national power is growing, we shall not forget to spread our excellent culture and gradually break the status of western cultural colonization and cultural hegemony to achieve an equal exchange between the import of foreign culture and export of national culture.
With an earnest heart, the author has been diving into garment written language translation, hoping to contribute her share to bringing Chinese garment industry in line with international practice. The existing garment written language translation study remains an unexplored frontier, with research on which scatters in bits of pieces of garment translation in fiction characters. The depth and scope are both far from adequacy, even lack of basic qualitative research on garment written language.
Taking the present situation into account, the paper, among other things, offers a complete description of garment written language, followed by the establishment of a rather pragmatic framework of“the Reconciliation Translation Theory”with its operating strategies and constraints for the translator’s actions. The theory is enlightened by the philosophic conception of“hehe (meaning growing harmony via reconciliation)”in the twenty first century and is constructed in an introspective research way. It works as a development for“the Harmonious Translation Theory”proposed by Mr. Zheng Hailin. Then, the author employs the Reconciliation Translation Theory to conduct the translation practice of garment written language, meanwhile, to test and verify the effectiveness and efficiency of the theory in practice. In contrast to the conventional way of dealing a topic from a single perspective, the research bases itself upon translatology, and systematically integrates translational elements concerned by showing the true colors of translation as a comprehensive subject. In this way, the author resumes the“Tao”of translation to the contradictions and reconciliations in real life. The scope of the garment written language research ranges from the existing garment translation of fiction characters to the entire garment industry chain, including the translation of the referential words for the three key factors of garment (material, color and style), brand names, fashion headlines, advertising texts, fashion show reports, enterprises’communication texts of foreign exchange, etc., thereby, trying to offer a complete picture of garment written language translation in communication.
The main points and findings of the research are as follows:
Firstly, through a careful analysis of garment written language, the author finds that it is a commercial advertising language in essence containing relatively more true-to-life information compared to that of a typical advertising language. It has three functions: informative, vocative and aesthetic. It is an effective complementary device to the drawing or picture language in the whole garment communication language system. Its goal is to help the target item express itself more accurate, more specific, more distinctive and more prominent, with a result of drawing more attention from the mass consumers. Its connotation is the description or interpretation of the garment culture and it has the characteristics of being comprehensive, informative, descriptive, figurative, communicative and fashionable. Being a comprehensive language, it involves knowledge from various subjects and has a very complicated interpersonal relation network, thus it needs the guidance of a reconciliation translation theory in its translation practice.
Secondly, the author systematically reviews the Harmonious Translation Theory and affirms the translation criterion of“harmony”. Nevertheless, the author points out that the flaw of the theory lies in its application relying too much on the perception of the translator and that it is week in the formalized mode for rational analysis.
Thirdly, the author tentatively integrates the conception of“reconciliation”into the Harmonious Translation Theory to enrich the connotation basis of the latter. To be specific: 1) Development from“harmony”to“reconciliation”shifts the focus from result to process.“Reconciling”is a process of growing based on the creativity of a conscious and voluntary subject. In the light of“reconciling”, translation becomes a pleasant activity involving the translator’s participation in fostering and creating international cultures.“Reconciliation”is the means to reach“harmony”, while“harmony”is an ideal relationship which the translator seeks among various factors and elements in text, society, body and mind, culture. 2) Development from“structures”to“living and changing”turns translation study from a closed system to an open one. Structure is static and closed, excluding individuality and diversity whereas reconciliation embodying the concept of“living and changing”allows the integration of diversity and multiple variables. In the view of reconciling translation, translation is a subjective recreation following the innate law of translation and accomplished by the translator’s sincere admiration for international culture and human languages, together with his/her heart felt cherishing towards the feelings of both the writer and the reader. Any attempt of cultural hegemony, language superiority view and the irrational operation of the translator is a violation of the reconciling spirit. The Reconciliation Translation Theory holds that the criteria of translation should be open. Any proposed criterion is a concept of“being on the way”, signifying an effort or contribution to its perpetual development. The base of translation is a living and changing reconciliation of the original text, the target text and the subject including the author, the translator and the reader. 3) Development from being moderate and proper to“living and changing reconciliation”promotes the connotation of harmony from conformance with the structure of the work to conformance with the nature of translation.“Moderation and properness”is the core of the Harmonious Translation Theory while“living and changing reconciliation”is the working principle of the Reconciliation Translation Theory. In the Reconciliation Translation Theory, the essence of reconciliation is the coexistence of diversities. Differences, heterogeneous elements and multiple variables get grown through reconciliation. Intra-lingual translation, inter-lingual translation and intersemiotic translation, including different translation versions of different languages, different ages and by different translators, are variations of a newly-fostered heterogeneous life. The outlook of reconciliation is the integration of both the form and its in-depth structure. Translation is a special variation in the target language. So it is impossible to take identical equivalence or identical effect or complete transfer to serve as a criterion for translation. A preferable way is to use the concept of“correspondence”which is a diversified system focusing on the coordinated equivalence of quality and effect. Such a system allows the making of related parameters to determine the quality grade of the translation. The goal of reconciliation is transcendence, which is coincidently the portrait of the translation process. The statement that the target text may compete with and even partially exceed the original text actually means the translator’s compensation efforts to resume the balance in translation by making use of the reciprocity of different languages. The value orientation of reconciliation is to develop the superior and weeding out the inferior. The operating value principle in the realistic aspect to decide the superior or the inferior is fairness, justice and reasonableness and in the transcending aspect is truth, virtue and beauty. Therefore, in the translation practice, the translator should exercise the method of symmetry and conformity with a heart for peace and love to balance factors and elements such as the original text and the target text, the interests of the translation initiator or translator and the reader, translatology and adjacent disciplines to achieve the harmony of co-existence, co-living in peace, co-growing, co-developing and with mutual prosperity. Every translator is encouraged to take part in the construction of the ever-perfecting spiritual home to all human beings.
Fourthly, the author traces the origin of the Reconciliation Translation Theory in the eastern and western cultures, as well as in their translation studies. The author points out that the psychological structure of the eastern culture is the unity of man and nature, which advocates man’s active creation based on the natural working rules. The working mechanism of reconciliation is“the doctrine of the mean”, which specifies itself as properness, harmony in diversity and cultivating one’s morality for harmony. The reflection of reconciliation in translation studies is the harmony of“quality”and“effect”in the light of humanism. The psychological structure of the western culture is Ontology (theory of existence), in which the world is an entity-centered harmonious network consisting levels and multi-relations. The working mechanism is“four-cause hypothesis”, which maintains that material is the vehicle of form, and form is the regulation on material, the transform between material and form being motivated by the purpose. The reflection of reconciliation in translation studies is the harmony of“effect”and“quality”in the light of purpose. Regardless of the east and the west, the original thought about translation is reconciliation. After a long period of development either in the right direction or in a divergent one, the current situation of translation studies needs to return to the Reconciliation Translation Theory. Both the eastern fuzzy, artistic way of translation which depends much on the translator’s experience and the western rational, precise scientific way of translation which lacks adequate humane concerns call for the reconciliation of each other.
Fifthly, the author builds up the Reconciliation Translation Model. Facing the reality that translation study is falling loose and marginalized in a pluralistic age, the author points out that the promising future for translation study is the construction and perfection of its own internal harmonious system. It is essential to make clear such matters as the nature, process, main media and factors concerning translation and to find out the operating axis of its internal system and its operating environment. Translation is a multi-prism phenomenon, thus it is difficult to build an omnipotent model to include the various aspects relating to translation. The realistic way is to build a reconciliation translation model, which keeps up with the times, and is of the“mean-adaptation”nature so that it can guide the translation study and practice to a relatively ideal result by optimizing the current translation modes or models. Through the analysis of the prevailing explanations to the nature of translation in current translation research field, the author obtains the core concept cluster in translation which includes“information, symbol, interpretation, text, meaning, correspondence and function”. After careful observation, the author concludes that the core concept cluster can be combined together once the key concept of“information”is to be made as a focus and this focus is able to provide a holograph of both the translation study and practice. Then, the author optimizes the Lasswell’s 5W model, Bell’s translation communication model, Wilbur Schramm’s transmission model based on the theory of control, Hall’s decoding model, and Lao Tzu’s“Taiji”interactive model to build up the Reconciliation Translation Model for the interpretation of translation process and studies. This model, including the reconciling links in communication, reconciling rounds of interactions, reconciling decoding positions, reconciling double-focus circulations and reconciling three-dimension unity, is applicable to the interpretation of translation study and practice. Besides, the newly-built model shows that the translator’s selective decision lasts the whole translation study or practice process. Clearly the translator performs the decisive role in the translating. In order to regulate the translator’s behaviors, the author employs the framework of Confucian communication rules proposed by Chen Guoming. The rules include humanism, appropriateness, rite, temporal contingencies, spatial contingencies and the first imperceptible beginning of movement. Based on these rules, the author describes how the translator behavior appropriately. As for the operating rules for the Reconciliation Translation Model, the author proposes the“cooperation–relevance–adaptation”translation strategies. Here, cooperation refers to the equal and mutual beneficial coordination between the writer, the translator and the reader; Relevance means that the translator makes some of the original information explicit to an adequate extent which is based on the analysis on such cognitive factors as the knowledge structure, reception capability and expectation of the translation of the target reader. In other words, the translator provides the target reader with optimal context so that the reader can understand the information with their least cognitive effort. Adaptation means the dynamic adjustment to every lingual dimension in terms of context, communication channel and the structural object. The Reconciliation Translation Theory, as the development of the Harmonious Translation Theory, presents the following basic features besides its original ones such as aesthetics, integrity, universality, dialectic and creativity: being dynamic and consistency, openness and fuzziness, heredity and levels, creativity and transcending. The innovative features are as follows: the reconciliation transfer of language value from language relationship to language game reflects the translator’s pursuit for truth; the reconciliation of scientific translation and artistic translation reflects the translator’s pursuit for excellence; the reconciliation of life style and humane context reflects the translator’s pursuit for the beauty in human nature.
Sixthly, in the view of the Reconciliation Translation Theory, the author discusses the methods for text analysis in garment written language translation. Considering that it is a live comprehensive language, the author puts it in the background of functionalism, which studies texts grounded on reality. The preferable way to study text analysis is to use“bifocal analyzing lens”method, which pays attention not only to the analysis of structures and languages of the texts, but also to the exploration of the social and cultural aspects of texts. Thereupon, the author looks into the problems relating to the translation units and the levels of translation units in the structural translation, pointing out that translation units could be a word, a phrase, a sentence, a paragraph or the entire text depending on the corresponding function between the source text and the target text. Free switching among different translation units shows the translator’s capability in the translation, and proves to be an effective translation skill in practice. However, except invariable translation units, translation format from whatever level is to be finally affirmed by the verification of the whole integrative function. Furthermore, the author looks into Reiss’research on the relationship of text typology and its corresponding translation strategies. The merits of the text typology study is that it gives the translator favorable guidance on the choice of translation strategies with its concise and clear patterns. However, seen carefully, the classification of texts seems to be a bit of being arbitrarily and the classifications are not precise. What is more, Reiss’text typology works only on the special condition when the target text and the original text are of equal functions. Especially, when her method develops into the adoption of the correspondence strategies in the name of“heterofunction”, it goes a bit too far. Therefore, the author prefers to take the merits of text typology analysis and combines them with the advantage of structure analysis to conduct a two-dimensional analysis of the garment written language. In the aspect of textual structural analysis, the author adopts the three-dimensional interpretation strategy of Benjamin, i.e. taking the original text as a“living entity”, interpreting the conceptual information of the text in the historical context, the visual information of the text in the emotional context, and the aura information of the text in the humane context. As for the interpersonal actions analysis, the author uses the Skopos theory by Reiss, Vermeer, and Nord, and balances the relationship between the original-text-centered orientation and target-reader-centered orientation with the principal of moderation. Based on that, the author discusses the reconciling behaviors in the interpersonal relationship among the group of the initiator, the translator and the reader and the group of the author, the translator and the reader.
Seventhly, the author applies the Reconciliation Translation Theory to the translation practice of garment written language. For the theory, this is a process of verification and feedback, since only through practical revision and upgrade can it turn into a feasible and empirical theory. For the translation practice, the translation of referential words of the three key elements for garment, i.e. material, color and style is discussed in the light of the translator’s pursuit for truth. These three elements represent three different methods for translating referential words, since material represents entity, color visual effect and style spatial effect. The translation of material referential words is conducted with semantic field theory in linguistics. Due to the limited space of the paper, the author takes the translation of fabric denotative words as an example. The semantic field of denotative words for fabrics is studied in terms of simple set theory. Nine types of translating methods is concluded for translating generic denotative words in hyponymy and species’denotative words in multiple taxonomy and the words in multiple synonymy is found to constitute one word’s multiple translating dimensions. Furthermore, nine decorative words categories are classified for fabrics’denotative words and a productive network is constructed for translating fabrics’basic denotative words. The difficulties for translating color referential words lie in its fuzziness. The theory of prototypes and basic-level structures in categorization is used to control effectively the fuzziness of color referential words. The intra-lingual transfer strategies of color referential words are discussed in terms of concept, form and pragmatic use and a sample of inter-language color card of the“red”category is provided. The focus of garment design and style translation is how to transfer the reconciling features of“the name”and its“spatial image”. The author finds some peculiar rules for the translation of garment design and style through the analysis of a great number of examples. The phenomenon of“family resemblance”exists in the generic referential words and these words needs to be carefully differentiated in their semantic and pragmatic aspects in order to find suitable corresponding words. The basic garment styles are categorized according to“the standard rule of the dressing people”. Generally speaking, the words of generic style in the basic type can find their corresponding equivalents in translation. The variety-type translation belongs to fussy translation and the garment component translation exhibits a tendency of domestication.“The time-and-space development rule”is of guiding importance to the diachronic and synchronic garment design translation. Diachronic garment design translation exercises the translation strategy of domestication and foreignization together while the focus of synchronic garment design translation shifts from the integrity to the change of composition modifiers. When doing the composition modifiers translation, one can adopt the metaphor priority translation method and commonsensible fuzzy translation method as well as the concrete translation method for translating cuttings and draperies. The author further does a tentative translation of some typical Chinese garment styles which generates some thinking about the translation of garment style names for the moment. So far as the present situation of garment written language translation is concerned, both direct foreignization and“roundabout foreignization”(i.e. foreignizaton following domestication) are appreciated to the spread of our national garment culture.
Eighthly, the Reconciling Translation Theory is applied to the translation practice of Garment brand names and fashion headlines. As a commercial advertising language, it is inevitable to employ figurative means to enhance the“appealing power”of the advertisement. The transfer of artistic effect does not mean the mere transfer of the literal words, but aims at providing the readers with the mood of literal works, thus leaving the translator much room for recreation. The translator needs to transfer to the reader the original information and effect with his/her own values, sensitive feelings and appreciation taste. The creative point for garment brand-name translation lies in the good command of the rule“borrowing power”, while that for fashion-headline translation is to make good use of the“novel rule”and“fashion rule”.
Ninthly, the reconciling translation of garment discourse style is discussed in the light of the translator’s pursuit for the beauty in human nature. The humane beauty is reflected in the following three levels: the communication content, translation principles and the delivery of discourse style. The content includes various discourses concerning all the links in the chain of garment industry introduction, namely, the brief introduction of the enterprise, the interpretation of brand concept, the introduction of the leading designers, as well as various ways for introducing or advertising the products, so that the reader can have a thorough understanding of the product. Translation principles reconcile“quality”and“effect”, which is balanced and desirable. The delivery of discourse style prefers to adopt register correspondence. Register is an open and dynamic system, full of complexity and the translator’s decision makings. Besides, it is quite a fruitful field in terms of research; thereby it can serve as a micro-verification model for the Reconciliation Translation Theory to offer guidance in the discourse translation of the garment written language. Through register analysis, the author finds the field of discourse covers both introductory advertising discourse and descriptive advertising discourse. The mode of discourse is via modern information channel in a non face-to-face situation. The style is of a negotiating tone. The tenor of discourse involves the enterpriser and the consumer, the relationship of whom is cooperative, for both sides cherish the wish for successful communication. Therefore, on the whole scale, the style of the introductory discourse is formal with detailed information, the language of which reads fluent and idiomatic, whereas the descriptive discourse tends to highlight the aesthetic effect through the use of figurative language to illustrate the information. Nevertheless, the style changes with the changes of the content and the function of the discourse. Difference generates a great range of varieties, all depending on the live target cases. Based on the careful analysis of the examples, the translation features of the introductory discourse are the reconciliation of“quality”and“effect”through the cooperative effort for mutual benefits. To be specific, the translation of the brief introduction of the enterprise is to offer a translation version which is clearly logic in meaning, accurate and specific in information, and adjust the Chinese exaggerating tone to the English plain tone; the translation of the interpretation of garment brand conception is to provide detailed information to meet the target reader’s knowledge structure and reading habits; the translation of designer introduction is to give the target reader optimal relevance in context. The translation features of the descriptive discourse are also the reconciliation of“quality”and“effect”through cooperation and optimization. To be specific, the translation of the fashion-fostering discourse is to balance the cultural touches with wits, allowing the existence of diversities to show respect for both the national and foreign cultures; the translation of the short advertisement set with pictures is to deliver the“vocative’function by using refined words to highlight the garment style; the translation of the advertisements, in which the written language receives the same attention as that of a drawing or a picture, is to offer the reconciliation of both the form and meaning; finally, the translation of the fashion-show reports is to render the target reader the dynamic effect of the latest garment style.
This study is a development to the Harmonious Translation Theory, and also pioneers a new empirical field in the garment written language translation. The study theoretically enriches the connotation of the Harmonious Translation Theory by the establishment of the Reconciliation Translation Theory and thereby increases the interpretation power. The empirical study of the garment written language translation tests and verifies the feasibility of the Reconciliation Translation Theory. In short, this study theoretically presents a dynamic and open conception to develop continuously and perfect perpetually the existing translation theories; empirically the practical study of the garment written language translation sheds light on classroom translation teaching, translation industry and the related intra-lingual communication.
引文
①《时尚北京》,2007年21期:6。
②《中外服饰》,2003年9月号:15。
①郭晓勇:《如同野老话家常——聆听季羡林谈翻译、写作、和谐》,载《对外大传播》2007(2),pp.14-16.
①张立文:《中国文化的和合精神与21世纪》.2003. http://lw.yeewe.com/175/12323134772.Html
①《中外服饰》,2004年1-2精刊。
②《中外服饰》,2004年1-2精刊。
③《服饰与美容》,2007年7月号。
④《世界时装之苑》,2007年11月号
①《世界时装之苑》,2007年11月号
②《世界服装之苑》,2007年9月号
③《时尚杂志》,2008年第6期。
④《中外服饰》,2004年1-2精刊。
⑤《世界时装之苑》,2008年第2期。
①《中外服饰》,2004年1-2精刊。
②《服饰与美容》,2007年7月号。
③《大都市》,2007年3月号。
①《中外服饰》,2004年1-2精刊。
②《服饰与美容》,2007年7月号。
③《服饰与美容》,2007年7月号。
④《中外服饰》,2004年10月刊。
⑤《中外服饰》,2004年10月刊。
①《JESSICA》,2007年9月号。
②《JESSICA》,2007年9月号。
③《服饰与美容》,2007年7月号。
④《时尚北京》,2007年9月号。
⑤《时尚北京》,2007年9月号。
⑥《服饰与美容》,2007年7月号。
①《中外服饰》,2003年5-6月合刊。
②《中外服饰》,2003年5-6月合刊。
③《中外服饰》,2004年10月刊。
④《中外服饰》,2004年10月刊。
①《JESSICA》,2007年9月号。
②《JESSICA》,2007年9月号。
③《中外服饰》,2003年5-6月合刊。
①《世界时装之苑》,2007年第7期。
②《世界时装之苑》,2007年第7期。
③《都市丽人》,2008年总第95期。
④《JESSICA》,2007年9月号。
⑤《世界时装之苑》,2007年第7期。
①《世界时装之苑》,2007年第7期。
②《世界时装之苑》,2007年第7期。
③《时尚北京》,2007年9月号。
④《时尚北京》,2007年9月号。
①《时尚北京》,2007年9月号。
②《嘉人》,2006年4月号。
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①《中外服饰》,2004年1-2精刊。
②《中外服饰》,2004年1-2精刊。
③《服饰与美容》,2007年7月号。
④《世界时装之苑》,2007年11月号
①《世界时装之苑》,2007年11月号
②《世界服装之苑》,2007年9月号
③《时尚杂志》,2008年第6期。
④《中外服饰》,2004年1-2精刊。
⑤《世界时装之苑》,2008年第2期。
①《中外服饰》,2004年1-2精刊。
②《服饰与美容》,2007年7月号。
③《大都市》,2007年3月号。
①《中外服饰》,2004年1-2精刊。
②《服饰与美容》,2007年7月号。
③《服饰与美容》,2007年7月号。
④《中外服饰》,2004年10月刊。
⑤《中外服饰》,2004年10月刊。
①《JESSICA》,2007年9月号。
②《JESSICA》,2007年9月号。
③《服饰与美容》,2007年7月号。
④《时尚北京》,2007年9月号。
⑤《时尚北京》,2007年9月号。
⑥《服饰与美容》,2007年7月号。
①《中外服饰》,2003年5-6月合刊。
②《中外服饰》,2003年5-6月合刊。
③《中外服饰》,2004年10月刊。
④《中外服饰》,2004年10月刊。
①《JESSICA》,2007年9月号。
②《JESSICA》,2007年9月号。
③《中外服饰》,2003年5-6月合刊。
①《世界时装之苑》,2007年第7期。
②《世界时装之苑》,2007年第7期。
③《都市丽人》,2008年总第95期。
④《JESSICA》,2007年9月号。
⑤《世界时装之苑》,2007年第7期。
①《世界时装之苑》,2007年第7期。
②《世界时装之苑》,2007年第7期。
③《时尚北京》,2007年9月号。
④《时尚北京》,2007年9月号。
①《时尚北京》,2007年9月号。
②《嘉人》,2006年4月号。
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