从接受美学视角看宋词的翻译
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摘要
宋词是中国古典文学宝库中的珍宝。宋词,作为一种配乐唱的诗体,具有与其他形式诗歌不同的特点:文字简洁,立意深远,格律严谨。清朝学者王国维称,宋词“能言诗之不能言,不能尽言诗之所言”。在国际交流日益频繁的今天,宋词的翻译有助于推动跨文化交流。
接受美学与传统的作者中心论和文本中心论不同,它强调读者在文学作品接受过程中的地位。接受美学认为,文学作品是一个充满空白和未定处、多层面的、未完成的图式结构。因此,文学文本的自身并不能产生独立的意义,而是需要借助读者的阅读具体化来丰富作品的意义,从而不断地维持作品的生命和提高作品的价值。
在对宋词的阅读和翻译过程中,译者是原文本的第一读者,具有主体性和创造性;目标语读者是译本的最终读者,在实现翻译作品的意义过程中扮演重要的角色;作为文学作品的一种形式,宋词具有文本未定处,如词汇层面的空白、句法层面的空白和格律空白。以上三大因素共同影响了翻译策略的选择和不同翻译版本的诞生。
本文结合接受美学理论,以苏词的英译为案例,对宋词翻译进行探索性的分析和研究,着重讨论译者作用、目标语读者地位和再现原作美学特点的翻译策略。最后,本文的预期结论是:第一,从接受美学角度评析译作,将诗词翻译研究的重点从文本中心转向读者中心,重视译者的主体性和创造性,能够解释并鼓励一首词的不同译本的存在价值,最终将有助于完善现有的翻译评判标准。第二,将接受美学引入宋词中文本空白的翻译处理,有助于丰富诗词翻译理论和翻译方法。
Ci poetry is a precious treasure in classical Chinese literature. As a form of lyric poetry, it is different from other styles of poetry in terms of concise words, profound meaning, and strict metrical patterns. Wang Guowei, a scholar in the Qing Dynasty said,“It can express what a poem can not express, but it can not fully express the subtlety.”Thus, the translation and research of Ci poetry will help to promote the ever-growing cross-cultural communication in modern times.
Reception aesthetics puts emphasis on the reader’s status in receiving and interpreting literary works, which is different from other literary theories such as author-centered and text-centered literary theories. According to reception aesthetics, the literary work is an uncompleted, multi-layered, schematized formation full of blanks and indeterminacies, waiting for readers to fill. Thus, the meaning of a literary work is not created from the text itself but the reader’s concretization, which sustains the life of a literary work.
In reading and translation process of Ci poetry, the translator as the first reader of the source work, has his or her own subjectivity and creativity; as the end reader of the translated work, the target language (TL) reader plays an important role in concretizing the work’s meaning. As a form of literary work, there are many places of indeterminacy in Ci poetry, such as places of indeterminacy in lexical level, syntactic level and metrical pattern. The factors mentioned above result in various translating methods and final translation versions.
The thesis studies English translations of Su Shi’s Ci poems with the help of reception aesthetics, makes a tentative analysis on Ci poetry translation in respect of translator’s role, target language (TL) reader’s status and translating strategies in conveying original aesthetic features of Ci poetry.
Finally, the thesis comes to conclusions: first, to judge a translated version from the perspective of reception aesthetics shifts the focus from the text to the reader, which will highlight reader’s subjectivity and creativity, encourage the birth of different versions of the same and finally help to improve the current assessing criteria; second, studying translating methods in Ci poetry from the perspective of reception aesthetics will enrich translation theories and methods of poetry translation.
接受美学与传统的作者中心论和文本中心论不同,它强调读者在文学作品接受过程中的地位。接受美学认为,文学作品是一个充满空白和未定处、多层面的、未完成的图式结构。因此,文学文本的自身并不能产生独立的意义,而是需要借助读者的阅读具体化来丰富作品的意义,从而不断地维持作品的生命和提高作品的价值。
在对宋词的阅读和翻译过程中,译者是原文本的第一读者,具有主体性和创造性;目标语读者是译本的最终读者,在实现翻译作品的意义过程中扮演重要的角色;作为文学作品的一种形式,宋词具有文本未定处,如词汇层面的空白、句法层面的空白和格律空白。以上三大因素共同影响了翻译策略的选择和不同翻译版本的诞生。
本文结合接受美学理论,以苏词的英译为案例,对宋词翻译进行探索性的分析和研究,着重讨论译者作用、目标语读者地位和再现原作美学特点的翻译策略。最后,本文的预期结论是:第一,从接受美学角度评析译作,将诗词翻译研究的重点从文本中心转向读者中心,重视译者的主体性和创造性,能够解释并鼓励一首词的不同译本的存在价值,最终将有助于完善现有的翻译评判标准。第二,将接受美学引入宋词中文本空白的翻译处理,有助于丰富诗词翻译理论和翻译方法。
Ci poetry is a precious treasure in classical Chinese literature. As a form of lyric poetry, it is different from other styles of poetry in terms of concise words, profound meaning, and strict metrical patterns. Wang Guowei, a scholar in the Qing Dynasty said,“It can express what a poem can not express, but it can not fully express the subtlety.”Thus, the translation and research of Ci poetry will help to promote the ever-growing cross-cultural communication in modern times.
Reception aesthetics puts emphasis on the reader’s status in receiving and interpreting literary works, which is different from other literary theories such as author-centered and text-centered literary theories. According to reception aesthetics, the literary work is an uncompleted, multi-layered, schematized formation full of blanks and indeterminacies, waiting for readers to fill. Thus, the meaning of a literary work is not created from the text itself but the reader’s concretization, which sustains the life of a literary work.
In reading and translation process of Ci poetry, the translator as the first reader of the source work, has his or her own subjectivity and creativity; as the end reader of the translated work, the target language (TL) reader plays an important role in concretizing the work’s meaning. As a form of literary work, there are many places of indeterminacy in Ci poetry, such as places of indeterminacy in lexical level, syntactic level and metrical pattern. The factors mentioned above result in various translating methods and final translation versions.
The thesis studies English translations of Su Shi’s Ci poems with the help of reception aesthetics, makes a tentative analysis on Ci poetry translation in respect of translator’s role, target language (TL) reader’s status and translating strategies in conveying original aesthetic features of Ci poetry.
Finally, the thesis comes to conclusions: first, to judge a translated version from the perspective of reception aesthetics shifts the focus from the text to the reader, which will highlight reader’s subjectivity and creativity, encourage the birth of different versions of the same and finally help to improve the current assessing criteria; second, studying translating methods in Ci poetry from the perspective of reception aesthetics will enrich translation theories and methods of poetry translation.
引文
Ayling, Alan. 1970, A Further Collection of Chinese Lyrics and Other Poems [M]. Nashville: Vanderbilt University Press.
Bao, T.F. [包通法], 2001,古诗词的翻译[J].无锡:无锡轻工大学学报(2):40-41。
Eagleton, Terry. 2004, Literary Theory: An Introduction [M]. Beijing: Foreign Language Teaching and Research Press.
Ezra Pond. 1973, Selected Prose 1909-1965 [M]. William Cookson, ed, Faber and Faber. Fokkema, Douwe Wessel. (1986) Theories of Literature in the Twentieth Century: Structuralism, Marxism, Aesthetics of Reception, Semiotics [M]. England: C. Hurst& Co. Ltd.
Gu, Z.K. [辜正坤], 1998,中西诗鉴赏与翻译[M].长沙:湖南人民出版社。
Holub, Robert.C. 1984, Reception Theory: A Critical Introduction [M]. London: Routledge.
Huang, L. [黄立], 2009,英语世界唐宋词研究[M].成都:四川大学出版社。
Ingarden, Roman. 1973, The Cognition of the Literary Work of Art Trans. Ruth Ann Crowley and Kenneth R [M]. Olson. Evanston:Northwestern University Press.
Iser, Wolfgang. 1978, The Act of Reading: A Theory of Aesthetic Response [M]. Baltimore and London: Johns Hopkins University Press.
Jauss, Hans Robert. 1982, Toward an Aesthetic of Reception. T. Bahti, trans [M]. Minneapolis: University of Minnesota Press.
Lin, Yutang. 1947, The Gay Genius: The Life and Times of Su Tungpo [M]. New York: J. Day Co.
Lin, Y.T. [林语堂], 2002,东坡诗文选[M].天津:百花文艺出版社。
Liu, M.Q. [刘宓庆], 1990,翻译的风格论[M].外国语(1): 1-5。
Long, Y.S. [龙榆生], 2004,词学十讲[M].北京:北京出版社。
Luo, X.Z [罗新璋], 1984,翻译论集[M].北京:商务印书馆。
Mo, X.C. [莫忻尘], 2009,接受美学视角下古词文本空白之英译[J].长沙:长沙理工大学。
Nida, E.A. 2004, The Theory and Practice of Translation [M]. Shanghai: Shanghai Foreign Language Education Press.
Nida, E.A. 2004, Towards a Science of Translating [M]. Shanghai: Shanghai Foreign Language Education Press.
Nord, Christiane. 2001, Translating as a purposeful activity—Functionalist Approaches Explained [J]. Shanghai: Shanghai Foreign Language Education Press.
Qin, H.W. [秦洪武], 1999,论读者反应论在翻译理论和翻译实践中的意义[J].外国语(1): 53-58。
Qiu, X.L. [裘小龙], 2003,中国古典爱情诗词选:汉英对照[M].上海:上海社会科学院出版社。
Ren, Z.J. [任治稷], 2008,东坡之诗—苏轼诗词文选译[M].上海:复旦大学出版社。
Sun, K.Y. [孙康宜], 1994,晚唐迄北宋词体演进与词人风格[M].台北:联经出版事业公司。
Sun, S.L. [孙淑兰], 2004,宋词三百首[M].北京:北京燕山出版社。
Tong, Y.H. [仝亚辉], 2002,接受美学对翻译研究的启示[J].福建外语(3): 50-52。
Turner, John. 1976, A Golden Treasury of Chinese Poetry: 121 Classical Poems [M]. Hong Kong: Chinese Univ. Pr.
Watson, Burton. 1994, Selected Poems of Su Tung-p’o. Port Townsend [M]. WA: Copper Canyon Press.
Wang, B. [王斌], 2001,概念整合与翻译[M].北京:中国翻译(3)。
Weng, X.L. [翁显良], 1985,古诗英译[M].北京:北京出版社。
Venuti, Lawrence. 2000, The Translation Studies Reader [M]. New York: Routledge.
Xu, Y.C. [许渊冲], 1984,翻译的艺术[M].北京:中国对外翻译出版社。
Xu, Y.C. [许渊冲], 2007,唐宋词一百首[M].北京:中国对外翻译出版公司。
Xu, Z.N. [徐植农], 2004,古诗词读本[M].苏州:苏州大学出版社。
Xu, Z.J. [徐忠杰], 1986,词百首英译[M].北京:北京语言大学出版社。
Yang, Xianyi &Yang, Gladys. 2005, Poetry and Prose of the Tang and Song [M]. Beijing: Foreign Languages Press.
Yang X.Y. [杨宪益], 1999,苏轼诗词选:汉英对照[M].北京:中国文学出版社。
Yang, W.N. [杨武能], 1987,阐释、接受与再创造的循环[J].北京:中国翻译(6): 3-6。
Zhuo, Z.Y. [卓振英], 2008,宋词集萃[M].上海:上海外语教育出版社。
Zhu, L.Y. [朱立元], 1989,接受美学[M].上海:上海人民出版社。
Zhu, L.Y. [朱立元], 2004,接受美学导论[M].合肥:安徽教育出版社。
Bao, T.F. [包通法], 2001,古诗词的翻译[J].无锡:无锡轻工大学学报(2):40-41。
Eagleton, Terry. 2004, Literary Theory: An Introduction [M]. Beijing: Foreign Language Teaching and Research Press.
Ezra Pond. 1973, Selected Prose 1909-1965 [M]. William Cookson, ed, Faber and Faber. Fokkema, Douwe Wessel. (1986) Theories of Literature in the Twentieth Century: Structuralism, Marxism, Aesthetics of Reception, Semiotics [M]. England: C. Hurst& Co. Ltd.
Gu, Z.K. [辜正坤], 1998,中西诗鉴赏与翻译[M].长沙:湖南人民出版社。
Holub, Robert.C. 1984, Reception Theory: A Critical Introduction [M]. London: Routledge.
Huang, L. [黄立], 2009,英语世界唐宋词研究[M].成都:四川大学出版社。
Ingarden, Roman. 1973, The Cognition of the Literary Work of Art Trans. Ruth Ann Crowley and Kenneth R [M]. Olson. Evanston:Northwestern University Press.
Iser, Wolfgang. 1978, The Act of Reading: A Theory of Aesthetic Response [M]. Baltimore and London: Johns Hopkins University Press.
Jauss, Hans Robert. 1982, Toward an Aesthetic of Reception. T. Bahti, trans [M]. Minneapolis: University of Minnesota Press.
Lin, Yutang. 1947, The Gay Genius: The Life and Times of Su Tungpo [M]. New York: J. Day Co.
Lin, Y.T. [林语堂], 2002,东坡诗文选[M].天津:百花文艺出版社。
Liu, M.Q. [刘宓庆], 1990,翻译的风格论[M].外国语(1): 1-5。
Long, Y.S. [龙榆生], 2004,词学十讲[M].北京:北京出版社。
Luo, X.Z [罗新璋], 1984,翻译论集[M].北京:商务印书馆。
Mo, X.C. [莫忻尘], 2009,接受美学视角下古词文本空白之英译[J].长沙:长沙理工大学。
Nida, E.A. 2004, The Theory and Practice of Translation [M]. Shanghai: Shanghai Foreign Language Education Press.
Nida, E.A. 2004, Towards a Science of Translating [M]. Shanghai: Shanghai Foreign Language Education Press.
Nord, Christiane. 2001, Translating as a purposeful activity—Functionalist Approaches Explained [J]. Shanghai: Shanghai Foreign Language Education Press.
Qin, H.W. [秦洪武], 1999,论读者反应论在翻译理论和翻译实践中的意义[J].外国语(1): 53-58。
Qiu, X.L. [裘小龙], 2003,中国古典爱情诗词选:汉英对照[M].上海:上海社会科学院出版社。
Ren, Z.J. [任治稷], 2008,东坡之诗—苏轼诗词文选译[M].上海:复旦大学出版社。
Sun, K.Y. [孙康宜], 1994,晚唐迄北宋词体演进与词人风格[M].台北:联经出版事业公司。
Sun, S.L. [孙淑兰], 2004,宋词三百首[M].北京:北京燕山出版社。
Tong, Y.H. [仝亚辉], 2002,接受美学对翻译研究的启示[J].福建外语(3): 50-52。
Turner, John. 1976, A Golden Treasury of Chinese Poetry: 121 Classical Poems [M]. Hong Kong: Chinese Univ. Pr.
Watson, Burton. 1994, Selected Poems of Su Tung-p’o. Port Townsend [M]. WA: Copper Canyon Press.
Wang, B. [王斌], 2001,概念整合与翻译[M].北京:中国翻译(3)。
Weng, X.L. [翁显良], 1985,古诗英译[M].北京:北京出版社。
Venuti, Lawrence. 2000, The Translation Studies Reader [M]. New York: Routledge.
Xu, Y.C. [许渊冲], 1984,翻译的艺术[M].北京:中国对外翻译出版社。
Xu, Y.C. [许渊冲], 2007,唐宋词一百首[M].北京:中国对外翻译出版公司。
Xu, Z.N. [徐植农], 2004,古诗词读本[M].苏州:苏州大学出版社。
Xu, Z.J. [徐忠杰], 1986,词百首英译[M].北京:北京语言大学出版社。
Yang, Xianyi &Yang, Gladys. 2005, Poetry and Prose of the Tang and Song [M]. Beijing: Foreign Languages Press.
Yang X.Y. [杨宪益], 1999,苏轼诗词选:汉英对照[M].北京:中国文学出版社。
Yang, W.N. [杨武能], 1987,阐释、接受与再创造的循环[J].北京:中国翻译(6): 3-6。
Zhuo, Z.Y. [卓振英], 2008,宋词集萃[M].上海:上海外语教育出版社。
Zhu, L.Y. [朱立元], 1989,接受美学[M].上海:上海人民出版社。
Zhu, L.Y. [朱立元], 2004,接受美学导论[M].合肥:安徽教育出版社。