毛泽东诗词五个英译本中文化意象的翻译研究
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摘要
纵观中国两千年多年来的光辉诗史,作为伟大的思想家、政治家、军事家和新中国的领袖毛泽东,同时也是一位伟大的诗人。毛泽东诗词由于其高度的思想、艺术和文化价值,在中国诗歌史上占据显赫的地位和享有极高的赞誉,并在世界范围内产生了广泛而深刻的影响。迄今为止,毛泽东诗词已被国内外学者译成多种语言和版本,其中英译本多达二十余种。虽然毛泽东诗词的研究已取得巨大成果,但毛泽东诗词的英译研究却显得非常薄弱,尤其是对译作的比较研究。丰富的国内外英译本正好为毛泽东诗词的英译研究提供了很好的材料。再者,意象是诗歌创作和赏析的灵魂。毛泽东诗词贯穿着丰富独特的意象,而且意象中无不渗透着丰富而深厚的中国文化,这些文化意象构成了毛泽东诗词的鲜明特点。所以本文将研究重点放在毛泽东诗词英译本中文化意象的翻译上,旨在比较和探讨不同译本对文化意象的翻译情况,试图探寻一些规律性现象,从中获得一些对文化意象的翻译及诗歌翻译的启示。
本文首先对所选取的五个有代表性的中外译本进行了全面介绍。接着基于中西方对意象的阐释,探究文化意象的内涵；再根据尤金·奈达对文化的分类方法和毛泽东诗词中文化意象的具体情况,探讨毛泽东诗词中文化意象的特点、分类及功能。然后在此基础上,将五个英译本中的文化意象分类进行收集、整理、列表和观察,综合运用文本分析、统计学、对比语言学等多种研究方法,描述、比较和探讨五个英译本对四大类文化意象的具体处理方式和方法,从中发现五个译本对于各类文化意象的翻译没有明显的一致性规律,即：各个译本在处理某类文化意象时,不存某种译法普遍使用；或某个译本在处理各类文化意象时,不存在某种译法贯彻始终；甚至相同译法带来不同的译文。不仅中外译者对同一文化意象的处理方式常常不同,即使同一民族下的不同译者有时也表现出很大差异。这种看似无规律的差异性实际上恰是译者主体性的体现。通过对译者主体性的内涵进行阐释,并基于五个译本中文化意象的翻译比较研究,得出这种差异性主要表现在两个方面：一是民族性差异；二是个体性差异。具体来说,民族性差异体现在：1)对于生态文化意象,中国译者倾向于将人的品质或主观情思融入意象的再现上,而外国译者更多地关注文化意象的客观呈现。实际上这是由中西方哲学思维的差异造成的,同时也是由于中国译者更能体会到文化意象在毛诗中的深层意涵,而外国译者则拘于文本信息,对诗词风格和意境把握不够的缘由；2)对于典故文化意象,外国译者倾向于使用异化,尽可能保留异域特色,让外国读者了解中国文化。而中国译者则倾向于使用归化,考虑读者的接受性和译文的艺术性；3)对于很多社会文化意象,外国译者不予理会,相反中国译者则十分重视。个体性差异主要体现在：译者对文化意象的解读和译者翻译思想的不同。最后指出,用译者主体性来分析五个英译本中文化意象的翻译,能够获得较为合理和全面的认识。而且译者的主观能动性和创造性,在诗歌翻译中应给予重视和鼓励。
Throughout over the two-thousand-year brilliant history of Chinese poetry, Mao Zedong, as a great thinker, strategist, leader of China, is as well a great poet. Mao Zedong's poetry, because of its highly artistic, idealistic and cultural value, has occupied a glorious position and gained a great reputation in the history of Chinese poetry, and thus has made great influence worldwide. So far Mao Zedong's poetry has been translated at home and abroad into many languages and versions, with the number of English versions arriving to nearly twenty. The study of Mao Zedong's poetry has already made great achievement, but the study of English translation of Mao's poetry is evidently inadequate, especially the comparative study of English versions. So many English versions perfectly provide rich materials for the comparative study. Moreover, images are believed to be the soul of poetry creation and appreciation. Mao's poetry is filled with various and vivid images and most of them are permeated with rich and deep Chinese culture. These cultural images constitute a distinct characteristic of Mao's poetry. So this thesis focuses upon the translation of cultural images in five selected English versions of Mao's poetry, and aims to compare and discuss how the five versions deal with cultural images, and tries to exploit something like rules or laws of translating cultural images, and thus gains something enlightening for the translation of cultural image and poetry translation.
This thesis first gives an overall introduction to the five selected English versions. Then, based upon the interpretations of the image in China and the West, it studies the connotation of the cultural image. Next, according to the classification of culture given by Eugene A. Nida and the situation where cultural images occur in Mao's poetry, it discusses in detail the feature, classification and function of cultural images in Mao's poetry. Afterwards it sorts out, makes lists of and observes most typical cultural images in the five versions; then with the multiple methods of text analysis, statistics and contrastive linguistics, it carries out the descriptive and comparative discussion on how the five versions deal with each category of cultural images. So it is found that there is no obvious consistency in translating those images by category, i.e. there is no tendency for all the versions to use certain translation method to deal with certain kind of cultural images; there is also no tendency for a version to use certain method for most of the images; even the use of the same method produces different translations due to different diction or sentence structures. Not only do the foreign and Chinese translators very often deal with a single cultural image in different ways, but sometimes the translators from the same nation do it quite differently. This great diversity which seems to have little rule is just the forceful manifestation of translator's subjectivity. Based upon the detailed comparison and discussion on how the five versions deal with each category of cultural images, it is found that the diversity is mainly manifested in two aspects:one is the national difference; the other is the individual difference. Concretely speaking, the national difference is illustrated in three cases. Firstly, as for ecological images, Chinese translators tend to integrate the human's quality and emotion into the reproduction of the images while foreign translators focus more upon the objective manifestation of the images themselves. That can be attributed to the different philosophical thinking between Chinese and westerners. Also, Chinese have a better grasp of the deep meaning of the images while foreigners have no thorough understanding of the poetic style or tone. Secondly, foreign translators tend to use foreignization in order to retain the foreignness and introduce Chinese culture while Chinese counterparts prefer domestication for the sake of readers' acceptance and poetic beauty. Thirdly, many social images are ignored by foreign translators while much regarded by Chinese translators. The individual difference is mainly attributed to the difference in translator's interpretation of cultural image and translation view. At last, a quite rational and comprehensive knowledge of translating cultural image and poetry can be gained through the analyses upon the translation of cultural images in five versions. Moreover, the translator's initiative and creativity deserve much attention and encouragement.
本文首先对所选取的五个有代表性的中外译本进行了全面介绍。接着基于中西方对意象的阐释,探究文化意象的内涵；再根据尤金·奈达对文化的分类方法和毛泽东诗词中文化意象的具体情况,探讨毛泽东诗词中文化意象的特点、分类及功能。然后在此基础上,将五个英译本中的文化意象分类进行收集、整理、列表和观察,综合运用文本分析、统计学、对比语言学等多种研究方法,描述、比较和探讨五个英译本对四大类文化意象的具体处理方式和方法,从中发现五个译本对于各类文化意象的翻译没有明显的一致性规律,即：各个译本在处理某类文化意象时,不存某种译法普遍使用；或某个译本在处理各类文化意象时,不存在某种译法贯彻始终；甚至相同译法带来不同的译文。不仅中外译者对同一文化意象的处理方式常常不同,即使同一民族下的不同译者有时也表现出很大差异。这种看似无规律的差异性实际上恰是译者主体性的体现。通过对译者主体性的内涵进行阐释,并基于五个译本中文化意象的翻译比较研究,得出这种差异性主要表现在两个方面：一是民族性差异；二是个体性差异。具体来说,民族性差异体现在：1)对于生态文化意象,中国译者倾向于将人的品质或主观情思融入意象的再现上,而外国译者更多地关注文化意象的客观呈现。实际上这是由中西方哲学思维的差异造成的,同时也是由于中国译者更能体会到文化意象在毛诗中的深层意涵,而外国译者则拘于文本信息,对诗词风格和意境把握不够的缘由；2)对于典故文化意象,外国译者倾向于使用异化,尽可能保留异域特色,让外国读者了解中国文化。而中国译者则倾向于使用归化,考虑读者的接受性和译文的艺术性；3)对于很多社会文化意象,外国译者不予理会,相反中国译者则十分重视。个体性差异主要体现在：译者对文化意象的解读和译者翻译思想的不同。最后指出,用译者主体性来分析五个英译本中文化意象的翻译,能够获得较为合理和全面的认识。而且译者的主观能动性和创造性,在诗歌翻译中应给予重视和鼓励。
Throughout over the two-thousand-year brilliant history of Chinese poetry, Mao Zedong, as a great thinker, strategist, leader of China, is as well a great poet. Mao Zedong's poetry, because of its highly artistic, idealistic and cultural value, has occupied a glorious position and gained a great reputation in the history of Chinese poetry, and thus has made great influence worldwide. So far Mao Zedong's poetry has been translated at home and abroad into many languages and versions, with the number of English versions arriving to nearly twenty. The study of Mao Zedong's poetry has already made great achievement, but the study of English translation of Mao's poetry is evidently inadequate, especially the comparative study of English versions. So many English versions perfectly provide rich materials for the comparative study. Moreover, images are believed to be the soul of poetry creation and appreciation. Mao's poetry is filled with various and vivid images and most of them are permeated with rich and deep Chinese culture. These cultural images constitute a distinct characteristic of Mao's poetry. So this thesis focuses upon the translation of cultural images in five selected English versions of Mao's poetry, and aims to compare and discuss how the five versions deal with cultural images, and tries to exploit something like rules or laws of translating cultural images, and thus gains something enlightening for the translation of cultural image and poetry translation.
This thesis first gives an overall introduction to the five selected English versions. Then, based upon the interpretations of the image in China and the West, it studies the connotation of the cultural image. Next, according to the classification of culture given by Eugene A. Nida and the situation where cultural images occur in Mao's poetry, it discusses in detail the feature, classification and function of cultural images in Mao's poetry. Afterwards it sorts out, makes lists of and observes most typical cultural images in the five versions; then with the multiple methods of text analysis, statistics and contrastive linguistics, it carries out the descriptive and comparative discussion on how the five versions deal with each category of cultural images. So it is found that there is no obvious consistency in translating those images by category, i.e. there is no tendency for all the versions to use certain translation method to deal with certain kind of cultural images; there is also no tendency for a version to use certain method for most of the images; even the use of the same method produces different translations due to different diction or sentence structures. Not only do the foreign and Chinese translators very often deal with a single cultural image in different ways, but sometimes the translators from the same nation do it quite differently. This great diversity which seems to have little rule is just the forceful manifestation of translator's subjectivity. Based upon the detailed comparison and discussion on how the five versions deal with each category of cultural images, it is found that the diversity is mainly manifested in two aspects:one is the national difference; the other is the individual difference. Concretely speaking, the national difference is illustrated in three cases. Firstly, as for ecological images, Chinese translators tend to integrate the human's quality and emotion into the reproduction of the images while foreign translators focus more upon the objective manifestation of the images themselves. That can be attributed to the different philosophical thinking between Chinese and westerners. Also, Chinese have a better grasp of the deep meaning of the images while foreigners have no thorough understanding of the poetic style or tone. Secondly, foreign translators tend to use foreignization in order to retain the foreignness and introduce Chinese culture while Chinese counterparts prefer domestication for the sake of readers' acceptance and poetic beauty. Thirdly, many social images are ignored by foreign translators while much regarded by Chinese translators. The individual difference is mainly attributed to the difference in translator's interpretation of cultural image and translation view. At last, a quite rational and comprehensive knowledge of translating cultural image and poetry can be gained through the analyses upon the translation of cultural images in five versions. Moreover, the translator's initiative and creativity deserve much attention and encouragement.
引文
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[2]Bassett, Susan & Lefevere, Andre. Constructing Cultures—Essays on Literary Translation[M]. Shanghai:Shanghai Foreign Language Education Press,2001.
[3]Bullock, Michael & Jerome Ch'en. Mao and the Chinese Revolution:with Thirty-Seven Poems by Mao Tse-tung[M]. London:Oxford University Press,1965.
[4]Nida, Eugene A & Charles R. Taber. The Theory and Practice of Translation[M]. Shanghai:Shanghai Foreign Language Education Press,2004.
[5]Nida, Eugene A. Language and Culture—Contexts in Translating[M]. Shanghai: Shanghai Foreign Language Education Press,2001.
[6]Nida, Eugene A. Language, Culture and Translating[M]. Shanghai:Shanghai Foreign Language Education Press,1993.
[7]Liu, James J.Y.. The Art of Chinese Poetry[M]. Chicago:University of Chicago Press, 1962.
[8]Owen Stephen. Readings in Chinese Literary Thought[M]. Cambridge, Massachusetts and London:Harvard University Press,1992.
[9]Shuttleworth, Mark & Moira Cowie. Dictionary of Translation Studies[M]. Shanghai: Shanghai Foreign Language Education Press,2004.
[10]Woods, Anthony & Paul Fletcher & Arthur Hughes. Statistics in Language Studies[M]. Beijing:Foreign Language Teaching and Research Press,2008.
[11]查明建,田雨.论译者主体性[J].中国翻译,2003(01)：22.
[12]陈福康.中国译学理论史稿[M].上海：上海教育出版社,1992.
[13]陈国民.毛泽东诗词百首译注[M].上海：上海教育出版社,1992.
[14]陈晶晶.《蝶恋花·答李淑一》中的意象及其英译本比较研究[J].湖南农业大学学报,2006(01)：10.
[15]陈新璋.诗词鉴赏概论[M].广州：广东人民出版社,1991.
[16]陈植锷.诗歌意象论[M].北京：中国社会科学出版社,1990.
[17]曹万生.现代派诗学与中西诗学[M].北京：北京出版社,1997.
[18]辜正坤.中西诗比较鉴赏与翻译理论[M].北京：清华大学出版社,2003.
[19]郭雪华.毛泽东诗词中颜色词英译[J].吉安师专学报,1995(03)：23.
[20]胡靖. 《毛泽东诗词》英译比较研究[D].成都：四川大学,2004.
[21]黄龙.翻译艺术教程[M].南京：南京大学出版社,1993.
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