中国现当代女性作家作品英译史研究：性别视角
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摘要
性别视角下的翻译史研究是自上世纪八十年代以来在以雪莉·西蒙、露易丝·冯·弗洛图等加拿大女性学者为代表创立的西方女性主义翻译理论基础上发展起来的较新的翻译研究领域。许多西方学者在相关领域已有较为丰富的研究成果,但在中国,相关研究仍十分有限,主要集中于少数几部经典作品与不多的几位女性译者。鉴于在汉英文学翻译及中国现当代女性作家作品在英语世界的接受等方面的研究仍十分匮乏,本论文试图从性别视角对上世纪三十年代以来的现当代女性作家作品英译史进行研究。
论文对翻译史研究及性别视角下的相关研究的主要成果进行了文献综述,并在此基础上提出了论文的主要研究问题：1)不同时期的女性作家英译作品有何特点,发展趋势如何?2)译者,尤其是女性译者,如何推动女性作品的英译,并且影响作品在目的语文化中的接受?3)社会语境,尤其是性别语境如何影响女性作品的英译?
研究对象为五四时期以来的现当代女性作家英译作品与译者。作品包括女性主义及非女性主义作家创作的小说、短篇故事、散文、自传、及诗歌等,重点是女性主义作家的小说、短篇故事及自传。女性译者是研究的重点对象,其译作中体现出的女性意识与女性主义特色均得到了深入研究。
依据中国与西方社会语境的变化以及翻译活动本身的特点,中国现当代女性文学英译史可分为三个时期：上世纪三十至六十年代、七十与八十年代,以及九十年代起至今。
论文主要采用描述性翻译研究方法与定性研究方法分析三个时期内的现当代女性文学英译史。性别视角为研究的主线,贯穿整个论文始终。另有一条暗线为翻译中东方主义的表现。研究采用归纳、演绎、概括等基本方法来分析现当代女作家英译作品以及译作的副文本(paratext),并且通过比较研究等方法对个别文本进行深入分析以揭示社会环境与性别因素对翻译的影响。
上世纪二十年代中国女性文学的第一次浪潮是西方女性主义理论与五四运动共同作用的结果。在三十年代至六十年代的革命时期,许多女性作家的作品主题由女性的主体性转向革命。中国现代女性作家的英译始于1930年。从那时起至六十年代末,在战争与革命的大背景下,女性作家作品英译数量较为稀少。作品主要由国内有良好英文教育背景的作家、学者以及少量在华西方记者进行翻译。对女性作家作品的选择与翻译主要由男性完成,对作品的主要关注点为战争与革命的主题。但是,在此背景下,仍有一些具有女性意识的作品得到了英译。陈衡哲与凌淑华等女性作家具有良好的英语教育背景,她们集编辑与翻译于身,将自己的作品推介到英语世界。谢冰莹与丁玲等另一些女性作家将性别问题与革命语境进行结合,通过英译作品向西方表现了她们的女性意识与女性主义思想。
在七十至八十年代,中国与世界的交流愈来愈频繁,在革命时期被压抑的女性意识开始重新在女性作家作品中出现。同时女性主义研究在西方学术界初具雏形。在此背景下,一些西方学者开始对中国妇女解放运动进行研究。在研究中,大多数学者采用东方主义的视角,主要分析了新中国妇女在解放运动中的失败之处。一些译者意识到了以丁玲为主的二十世纪二十至三十年代女作家作品中的女性意识与女性主义特征。而西方泽者、作家与学者对于当代女性作家作品中女性主义特征的分析主要体现在译本的副文本中。中国的机构翻译为推动女性作家作品在英语世界的传播做出了很大努力。戴乃迭是此时期最重要的女性主义译者,在其译作与其他创作中体现了她强烈的女性意识及对中国女性主义的思考。
上世纪九十年代,中国女性文学第二次浪潮出现,而在后结构主义及后殖民主义的影响下,西方女性主义第三次浪潮同时兴起,学者们开始对第三世界国家的女性主义发展产生兴趣,中国女性主义也在其特殊语境中得到重新审视。在此背景下,许多西方出版社开始主动译介现当代女性作家的作品。然而英语世界在阅读中国女性作家作品时仍持有东方主义的偏见,在虹影、卫慧等通俗小说英译本的副文本中表现尤为突出。这些作品中的自我东方主义特点也普遍存在,这些特点更加强化了西方对中国女性形象的固化与偏见。
一批西方女性译者对译介中国女性作家作品以及整体中国文学作品起到了很大的推动作用。其中一些译者为女性主义学者,她们不仅译介了现当代一些重要的女性作家如丁玲、张爱玲和残雪的多部作品,并且对近代史上一些被遗忘的女性作家的优秀作品进行了译介。另一些女性译者致力于对整体中国文学作品的译介,但也在女性作品翻译与翻译思想中表现了一些女性意识。但是一些重要的女性主义作品仍然被西方批评家与读者所忽视,作品中的女性主义特色也在一些翻译中丧失。通过对陈染小说《私人生活》英译本的副文本及译者翻译策略进行分析,可以看出英译作品在西方的接受主要在女性情欲与政治方面,而在一定程度上失去了原文中表现的女性主义特色和思想。
结论部分总结了现当代中国女性作家英译史的发展特点、译作中与译者女性意识的发展、女性作家作品的边缘地位、翻译史中东方主义的体现以及目前女性作家作品英译的不足之处。
本研究是针对中国现当代女性作家作品英译史的具有原创性的研究。首先,本研究挖掘了中国现当代女性作家作品英译史中如陈衡哲、凌叔华等一些长期被遗忘的女性译者,并从性别视角对一些译者,包括个别男性译者进行了比较研究,突出了女性译者在女性作品翻译史中的重要性。其次,本研究分别分析了三个时期的社会语境中东方主义的特点,以及东方主义在中国现当代女性英译作品及作品副文本中的体现。再次,本研究探讨了中国现当代女性作家作品在汉译英文学史中的边缘地位并对其背后的原因进行了深入探究。
作者希望本研究同时在理论与实践方面推动翻译史方面的研究。在研究中作者使用了多种方法,希望能推进翻译史研究在理论方面的发展,并为致力于文学研究与翻译研究的学者提供未来进一步研究的资料。在实践方面,本研究有助于中国和西方文学译者与出版商了解女性作品英译史的发展趋势与不足之处,使他们在未来的作品选择与翻译等相关等方面能够有所改进。
Studies of Translation History from gender perspective is a recent development in the field of Translation Studies since the1980s, which is based on Feminist Translation Theory put forward by Canadian feminist researchers and translators such as Sherry Simon and Loise von Flotow. Many researches have been done in this field in the West, while in China researches are limited to a few classical works and a few female translators. In consideration of lack of studies in the field of Chinese to English literary translation and reception of modern and contemporary women writers'works in the English-speaking world, the author tries to study the translation history of modern and contemporary women writers'works from the1930s up to now from gender perspective.
A literature review of both studies in the field of Translation History and studies of translation history from gender perspective is given, based on which the research questions of the dissertation are put forward. The main research questions are:1) What are the features of the works translated in different periods and the development trend?2) How do translators, especially women translators, promote translation of women writers'works and influence the reception of translated text in the target culture?3) How does the social context, especially gender related context, influence translation of women writers'works?
The research objects are the translated works by women writers since the May Fourth Period and the translators. The works include novels, short stories, essays, autobiographies and poems written by both feminist and non-feminist women writers. Novels, short stories and autobiographies by feminist writers are mainly studied. Woman translators are the main focus of the research. Female consciousness and feminist features represented in their translation are analyzed in details.
According to the changes of Chinese and Western social context and the features of translation itself, the translation history of modern and contemporary Chinese women writers'works is generally divided into three periods:from the1930s to1960s, the1970s and1980s, and since the1990s.
The research mainly takes the methods of Descriptive Translation Studies and qualitative research to explore translation of women writers'works in three different periods. Gender perspective is taken throughout the research as the major theme and representation of Orientalism is the implicit theme. The research also uses such basic methods as induction, deduction and summarization to examine the features of translated works by women writers and the paratexts of translated works. Other methods such as comparative method are used in some case studies to examine the influence of social context and gender factors on translated text.
The first wave of women's literature in the1920s in modern China is a result of both the Western feminist thoughts and the May Fourth Movement in China. In the revolutionary period from1930s to1960s many women writers shifted the theme of their writing from women's subjectivity to revolution. Translation of women writers' works from Chinese to English started in1930. From then on till the end of1960s, against the background of war and revolution, translation of women writers'works was sporadic. It was mainly promoted by Chinese writers and scholars with good Western education background and a few Western journalists in China. The selection and translation of women's works were mainly done by men, and the major concern of the works is the theme of war and revolution.
However, there are still some works with feminist features translated into the English-speaking world. Some women writers, such as Chen Hengzhe and Ling Shuhua who had good knowledge of English language themselves, were active in editing, translating and promoting their own works to the English-speaking world. Some other women writers, such as Xie Bingying and Ding Ling, combined gender issues with the grand theme of revolution, and presented their female consciousness and feminist thoughts to the English-speaking world through translation of their own works.
In the1970s and1980s, communication between China and the West began to develop quickly. Women's consciousness, which were repressed in the revolutionary period, began to reemerge in works by women writers. At the same time, feminist studies began to take form in the Western academic field. Against this background many Western scholars began to do research on Women's Liberation Movement in China. Most Western scholars took Orientalist perspective in their research, and mainly focused on the failure of liberation for women in Communist China. Some scholars recognized the female consciousness and feminist features in the works by women writers from the1920s and1930s such as Ding Ling. The analysis of feminist features in contemporary women writers'works made by translators, Western literary writers and researchers are mainly shown in the paratexts of translated works. Chinese institutional translation made great efforts in promotion of women writers'works. Gladys Yang, the most important feminist translator in this period, showed her strong female consciousness and represented her thoughts on Chinese feminism in her translation and other writings.
In the1990s, the second wave of feminist writing began to appear in China, while the West experienced the third wave of Feminism, which was greatly influenced by poststructralist and postcolonial theories. Scholars began to take interest in Feminisms in the Third World countries, and Chinese Feminism started to get reconsidered in its specific social context. Against this background, many Western presses took the initiative to translate works by modern and contemporary women writers. The Western world still takes Orientalist views towards Chinese women writers'works, which is best shown in the paratexts of some popular works by women writers such as Hong Ying and Wei Hui. Self-orientalist features are also prevalent in the works themselves, which further strengthen the stereotypes of image of Chinese women and prejudice in the eyes of the Western public.
Some Western women translators have made great efforts in promoting works by Chinese women writers as well as Chinese literature in general. Some of them are feminist scholars themselves and pay special attention to women writers. They not only translated prominent writers such as Ding Ling, Zhang Ailing and Can Xue, but also tried to introduce high-quality works by less known women writers in modern Chinese history. Others devoted themselves to translation of Chinese literature in general, but some female consciousness is also shown in their translation of women writers'works and translation thoughts.
However, many Chinese feminist works are still ignored by the Western critics and readers, and some feminist features of their works are also lost in the translation. An analysis of the paratexts of the English translation of A Private Life by Chen Ran and the strategies the translator takes in the translation shows that the work is more received as one about female sexuality and politics, and some feminist features and thoughts represented in the original work are to some extent lost.
The conclusion part summarizes the major features of the development of translation of women writers'works, development of women's consciousness in the translated works and translators, the still marginalized position of women writers' works, representation of Orientalism in the translation history, and other existent problems in translation of women writers'works.
The research is an original research on the translation history of works by modern and contemporary Chinese women writers. First, the research rediscovers some long-forgotten women translators such as Chen Hengzhe and Ling Shuhua, and reexamines and compares some others, including a few male translators, from gender perspective, and stresses the importance of women writers in the translation history of women writers'works. Second, the research examines the Orientalist features in the social context in the three periods and their representation in the translated texts and paratexts of Chinese to English translated literature. Third, the research explores how women writers'works are marginalized in Chinese to English translation throughout the history and investigates the reasons behind it.
The author hopes that the research will contribute to the studies of Translation History in both theory and practice. The author combines various research methods in the research, hoping to promote theoretical development of studies on Translation History. The research also provides research data for scholars in both literary studies and translation studies for their future research. At the practical level, the research may help Chinese and Western literary translators and publishers understand the trend of development and deficiencies in translation of women writers'works and improve their selection and translation work in the future.
论文对翻译史研究及性别视角下的相关研究的主要成果进行了文献综述,并在此基础上提出了论文的主要研究问题：1)不同时期的女性作家英译作品有何特点,发展趋势如何?2)译者,尤其是女性译者,如何推动女性作品的英译,并且影响作品在目的语文化中的接受?3)社会语境,尤其是性别语境如何影响女性作品的英译?
研究对象为五四时期以来的现当代女性作家英译作品与译者。作品包括女性主义及非女性主义作家创作的小说、短篇故事、散文、自传、及诗歌等,重点是女性主义作家的小说、短篇故事及自传。女性译者是研究的重点对象,其译作中体现出的女性意识与女性主义特色均得到了深入研究。
依据中国与西方社会语境的变化以及翻译活动本身的特点,中国现当代女性文学英译史可分为三个时期：上世纪三十至六十年代、七十与八十年代,以及九十年代起至今。
论文主要采用描述性翻译研究方法与定性研究方法分析三个时期内的现当代女性文学英译史。性别视角为研究的主线,贯穿整个论文始终。另有一条暗线为翻译中东方主义的表现。研究采用归纳、演绎、概括等基本方法来分析现当代女作家英译作品以及译作的副文本(paratext),并且通过比较研究等方法对个别文本进行深入分析以揭示社会环境与性别因素对翻译的影响。
上世纪二十年代中国女性文学的第一次浪潮是西方女性主义理论与五四运动共同作用的结果。在三十年代至六十年代的革命时期,许多女性作家的作品主题由女性的主体性转向革命。中国现代女性作家的英译始于1930年。从那时起至六十年代末,在战争与革命的大背景下,女性作家作品英译数量较为稀少。作品主要由国内有良好英文教育背景的作家、学者以及少量在华西方记者进行翻译。对女性作家作品的选择与翻译主要由男性完成,对作品的主要关注点为战争与革命的主题。但是,在此背景下,仍有一些具有女性意识的作品得到了英译。陈衡哲与凌淑华等女性作家具有良好的英语教育背景,她们集编辑与翻译于身,将自己的作品推介到英语世界。谢冰莹与丁玲等另一些女性作家将性别问题与革命语境进行结合,通过英译作品向西方表现了她们的女性意识与女性主义思想。
在七十至八十年代,中国与世界的交流愈来愈频繁,在革命时期被压抑的女性意识开始重新在女性作家作品中出现。同时女性主义研究在西方学术界初具雏形。在此背景下,一些西方学者开始对中国妇女解放运动进行研究。在研究中,大多数学者采用东方主义的视角,主要分析了新中国妇女在解放运动中的失败之处。一些译者意识到了以丁玲为主的二十世纪二十至三十年代女作家作品中的女性意识与女性主义特征。而西方泽者、作家与学者对于当代女性作家作品中女性主义特征的分析主要体现在译本的副文本中。中国的机构翻译为推动女性作家作品在英语世界的传播做出了很大努力。戴乃迭是此时期最重要的女性主义译者,在其译作与其他创作中体现了她强烈的女性意识及对中国女性主义的思考。
上世纪九十年代,中国女性文学第二次浪潮出现,而在后结构主义及后殖民主义的影响下,西方女性主义第三次浪潮同时兴起,学者们开始对第三世界国家的女性主义发展产生兴趣,中国女性主义也在其特殊语境中得到重新审视。在此背景下,许多西方出版社开始主动译介现当代女性作家的作品。然而英语世界在阅读中国女性作家作品时仍持有东方主义的偏见,在虹影、卫慧等通俗小说英译本的副文本中表现尤为突出。这些作品中的自我东方主义特点也普遍存在,这些特点更加强化了西方对中国女性形象的固化与偏见。
一批西方女性译者对译介中国女性作家作品以及整体中国文学作品起到了很大的推动作用。其中一些译者为女性主义学者,她们不仅译介了现当代一些重要的女性作家如丁玲、张爱玲和残雪的多部作品,并且对近代史上一些被遗忘的女性作家的优秀作品进行了译介。另一些女性译者致力于对整体中国文学作品的译介,但也在女性作品翻译与翻译思想中表现了一些女性意识。但是一些重要的女性主义作品仍然被西方批评家与读者所忽视,作品中的女性主义特色也在一些翻译中丧失。通过对陈染小说《私人生活》英译本的副文本及译者翻译策略进行分析,可以看出英译作品在西方的接受主要在女性情欲与政治方面,而在一定程度上失去了原文中表现的女性主义特色和思想。
结论部分总结了现当代中国女性作家英译史的发展特点、译作中与译者女性意识的发展、女性作家作品的边缘地位、翻译史中东方主义的体现以及目前女性作家作品英译的不足之处。
本研究是针对中国现当代女性作家作品英译史的具有原创性的研究。首先,本研究挖掘了中国现当代女性作家作品英译史中如陈衡哲、凌叔华等一些长期被遗忘的女性译者,并从性别视角对一些译者,包括个别男性译者进行了比较研究,突出了女性译者在女性作品翻译史中的重要性。其次,本研究分别分析了三个时期的社会语境中东方主义的特点,以及东方主义在中国现当代女性英译作品及作品副文本中的体现。再次,本研究探讨了中国现当代女性作家作品在汉译英文学史中的边缘地位并对其背后的原因进行了深入探究。
作者希望本研究同时在理论与实践方面推动翻译史方面的研究。在研究中作者使用了多种方法,希望能推进翻译史研究在理论方面的发展,并为致力于文学研究与翻译研究的学者提供未来进一步研究的资料。在实践方面,本研究有助于中国和西方文学译者与出版商了解女性作品英译史的发展趋势与不足之处,使他们在未来的作品选择与翻译等相关等方面能够有所改进。
Studies of Translation History from gender perspective is a recent development in the field of Translation Studies since the1980s, which is based on Feminist Translation Theory put forward by Canadian feminist researchers and translators such as Sherry Simon and Loise von Flotow. Many researches have been done in this field in the West, while in China researches are limited to a few classical works and a few female translators. In consideration of lack of studies in the field of Chinese to English literary translation and reception of modern and contemporary women writers'works in the English-speaking world, the author tries to study the translation history of modern and contemporary women writers'works from the1930s up to now from gender perspective.
A literature review of both studies in the field of Translation History and studies of translation history from gender perspective is given, based on which the research questions of the dissertation are put forward. The main research questions are:1) What are the features of the works translated in different periods and the development trend?2) How do translators, especially women translators, promote translation of women writers'works and influence the reception of translated text in the target culture?3) How does the social context, especially gender related context, influence translation of women writers'works?
The research objects are the translated works by women writers since the May Fourth Period and the translators. The works include novels, short stories, essays, autobiographies and poems written by both feminist and non-feminist women writers. Novels, short stories and autobiographies by feminist writers are mainly studied. Woman translators are the main focus of the research. Female consciousness and feminist features represented in their translation are analyzed in details.
According to the changes of Chinese and Western social context and the features of translation itself, the translation history of modern and contemporary Chinese women writers'works is generally divided into three periods:from the1930s to1960s, the1970s and1980s, and since the1990s.
The research mainly takes the methods of Descriptive Translation Studies and qualitative research to explore translation of women writers'works in three different periods. Gender perspective is taken throughout the research as the major theme and representation of Orientalism is the implicit theme. The research also uses such basic methods as induction, deduction and summarization to examine the features of translated works by women writers and the paratexts of translated works. Other methods such as comparative method are used in some case studies to examine the influence of social context and gender factors on translated text.
The first wave of women's literature in the1920s in modern China is a result of both the Western feminist thoughts and the May Fourth Movement in China. In the revolutionary period from1930s to1960s many women writers shifted the theme of their writing from women's subjectivity to revolution. Translation of women writers' works from Chinese to English started in1930. From then on till the end of1960s, against the background of war and revolution, translation of women writers'works was sporadic. It was mainly promoted by Chinese writers and scholars with good Western education background and a few Western journalists in China. The selection and translation of women's works were mainly done by men, and the major concern of the works is the theme of war and revolution.
However, there are still some works with feminist features translated into the English-speaking world. Some women writers, such as Chen Hengzhe and Ling Shuhua who had good knowledge of English language themselves, were active in editing, translating and promoting their own works to the English-speaking world. Some other women writers, such as Xie Bingying and Ding Ling, combined gender issues with the grand theme of revolution, and presented their female consciousness and feminist thoughts to the English-speaking world through translation of their own works.
In the1970s and1980s, communication between China and the West began to develop quickly. Women's consciousness, which were repressed in the revolutionary period, began to reemerge in works by women writers. At the same time, feminist studies began to take form in the Western academic field. Against this background many Western scholars began to do research on Women's Liberation Movement in China. Most Western scholars took Orientalist perspective in their research, and mainly focused on the failure of liberation for women in Communist China. Some scholars recognized the female consciousness and feminist features in the works by women writers from the1920s and1930s such as Ding Ling. The analysis of feminist features in contemporary women writers'works made by translators, Western literary writers and researchers are mainly shown in the paratexts of translated works. Chinese institutional translation made great efforts in promotion of women writers'works. Gladys Yang, the most important feminist translator in this period, showed her strong female consciousness and represented her thoughts on Chinese feminism in her translation and other writings.
In the1990s, the second wave of feminist writing began to appear in China, while the West experienced the third wave of Feminism, which was greatly influenced by poststructralist and postcolonial theories. Scholars began to take interest in Feminisms in the Third World countries, and Chinese Feminism started to get reconsidered in its specific social context. Against this background, many Western presses took the initiative to translate works by modern and contemporary women writers. The Western world still takes Orientalist views towards Chinese women writers'works, which is best shown in the paratexts of some popular works by women writers such as Hong Ying and Wei Hui. Self-orientalist features are also prevalent in the works themselves, which further strengthen the stereotypes of image of Chinese women and prejudice in the eyes of the Western public.
Some Western women translators have made great efforts in promoting works by Chinese women writers as well as Chinese literature in general. Some of them are feminist scholars themselves and pay special attention to women writers. They not only translated prominent writers such as Ding Ling, Zhang Ailing and Can Xue, but also tried to introduce high-quality works by less known women writers in modern Chinese history. Others devoted themselves to translation of Chinese literature in general, but some female consciousness is also shown in their translation of women writers'works and translation thoughts.
However, many Chinese feminist works are still ignored by the Western critics and readers, and some feminist features of their works are also lost in the translation. An analysis of the paratexts of the English translation of A Private Life by Chen Ran and the strategies the translator takes in the translation shows that the work is more received as one about female sexuality and politics, and some feminist features and thoughts represented in the original work are to some extent lost.
The conclusion part summarizes the major features of the development of translation of women writers'works, development of women's consciousness in the translated works and translators, the still marginalized position of women writers' works, representation of Orientalism in the translation history, and other existent problems in translation of women writers'works.
The research is an original research on the translation history of works by modern and contemporary Chinese women writers. First, the research rediscovers some long-forgotten women translators such as Chen Hengzhe and Ling Shuhua, and reexamines and compares some others, including a few male translators, from gender perspective, and stresses the importance of women writers in the translation history of women writers'works. Second, the research examines the Orientalist features in the social context in the three periods and their representation in the translated texts and paratexts of Chinese to English translated literature. Third, the research explores how women writers'works are marginalized in Chinese to English translation throughout the history and investigates the reasons behind it.
The author hopes that the research will contribute to the studies of Translation History in both theory and practice. The author combines various research methods in the research, hoping to promote theoretical development of studies on Translation History. The research also provides research data for scholars in both literary studies and translation studies for their future research. At the practical level, the research may help Chinese and Western literary translators and publishers understand the trend of development and deficiencies in translation of women writers'works and improve their selection and translation work in the future.
引文
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