在多维视角下研究詹·马·巴里的小说《彼得·潘》的中译
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摘要
小说《彼得·潘》(又名《彼得与温迪》)于1911年出版,是苏格兰剧作家、小说家詹·马·巴里最成功的作品。近一个世纪以来,经过不断翻译、改编和续写,“彼得·潘”已经演变成包括舞台剧、音乐剧、小说、漫画、雕塑、电影、卡通片、广播电视节目、纪录片等等多种艺术形式在内的世界性文化符号。
《彼得·潘》的第一本中译本发表于1929年。到目前为止,直接讨论该小说中译的论文只有三篇,而且都着重于个别译本的批评,没有对小说中译的整体情况进行全面系统的总结。《彼得·潘》一共有多少中译本?哪些译本比较重要?该小说的中译经过了怎样的发展过程?本次研究力图回答这些问题。
首先,本文详细调查了国内外关于原著及其翻译的研究成果。总的来看,对原著的看法存在很大分歧,褒贬不一；国内的研究虽然不乏贡献与创造性,但在数量和质量上落后于西方；西方的研究比较充分、方法多样,但也有主观、片面的缺点。受到于连江博士的“多维视角下的文学翻译批评”中的“全景”视角的启发,本文从时代背景、作者生平和文学技巧三个方面重新评估了原著的艺术特色和思想价值。为进一步正确认识原著做出了努力,也为研究该小说的中译做好了准备。
然后,本文调查了我国八十年以来出版的各种与“彼得·潘”有关的图书。在调查获得的列表中,利用皮姆的“操作定义”和热内特的“侧文本”概念区分译本与非译本,最终确定了三十二种中译本。接着根据译者的权威性和这些译本出版和接受的情况,挑选出梁实秋、杨静远和朱宾忠的译本,分析该小说中译的发展过程及其不同时期的主要特点。
最后,本文运用于连江博士的“多维视角下的文学翻译批评”理论对这三个译本进行了分析、比较。该理论认为文学翻译批评应该兼顾宏观、中观和微观维度。宏观维度的意识形态、文化等要素在翻译研究中起调控和制约作用；中观维度的译者一方面受控于社会意识形态、文化等宏观要素,另一方面在翻译选择中起决定作用,即译者最终决定对原文文本进行多大程度上的取舍；微观维度是中观维度的译者与宏观维度的意识形态、社会文化之间进行信息交流的载体和依托。这三个维度互相作用、互相渗透、互相印证,构成了一个互动、互补、开放的动态参照体系,为全面认识翻译活动提供必要条件和客观基础,同时更容易挖掘出不同译本在文化交流中所体现的翻译价值。
通过分析,本文发现了梁译强调“信”而忽略“顺”,杨译强调“达”而忽略“信”,朱译既忠实、又归化的特点；小说中译经历了从上世纪二十年代的保守到八十年代的畅达再到本世纪初的归化这一发展过程。
The novel Peter Pan or Peter and Wendy published in 1911 is the most successful work written by Scottish dramatist and novelist J. M. Barrie. After translation, adaptation and rewriting for about a hundred years, "Peter Pan" has become a worldwide cultural icon in various artistic forms such as theatre, musical, fiction, comic, sculpture, movie, cartoon, TV and radio program, documentary, etc.
The first Chinese version of the fiction was published in 1929. So far, there have only been three articles focusing directly on the fiction's Chinese translation, all dedicated to the criticism of certain translated versions, but the Chinese translation of Peter Pan as a whole has not been studied comprehensively and systematically yet. How many Chinese versions are there? Which versions are more important? How has the Chinese translation of the fiction evolved? This research aims to answer these questions.
Firstly, researches about the fiction and its translation both at home and abroad are under close examination. Generally speaking, the original has been received quite differently and it has met both acclamation and denunciation; researches in China are comparatively inadequate and limited though not without ingenuity and contribution, while those in the west are flawed by subjectivity and one-sidedness though large in volume and rich in method. This paper, inspired by the "panoramic" view of "multidimensional literary translation criticism" proposed by Dr. Yu Lianjiang, reevaluates the artistry and significance of the original after investigating the time setting, the author's life and the literary techniques. The investigation makes efforts to reevaluate the original properly and to make preparation for the study on the Chinese translation of Peter Pan.
Secondly, an investigation is made on all kinds of Peter-Pan-related books published in China over the past eighty years. According to Pym's "working definitions" and Genette's "paratexts", translations are distinguished from nontranslations, and thirty two Chinese versions of the fiction are finally identified. Then judging by the authoritativeness of translators and the publication and circulation of these versions, the versions by Liang Shiqiu, Yang Jingyuan and Zhu Bingzhong are picked out as primary ones for analysis, with the aim to reflect the overall development of the Chinese translation of Peter Pan and the main features of the translation in different historical periods.
Lastly, the three versions are analyzed and compared within the theoretical framework of the "multidimensional literary translation criticism" proposed by Dr. Yu Lianjiang, who believes that literary translation criticism should be made simultaneously on macro, intermediate and micro dimensions. Elements on macro dimension such as ideology and culture manipulate translation; elements of translator on intermediate dimension are under the influence of macro elements such as ideology and culture on the one hand and make decisions in the process of translation on the other hand, namely, the translator decides how much of the original text will be reserved; micro dimension serves as the messenger and assistant for the exchange of information between the translator on intermediate dimension and ideology and culture on macro dimension. The three dimensions interact with each other, permeate each other and testify each other to form a dynamic reference system which is interactive, complementary and open. Providing necessary and objective conditions, the system makes it possible to understand translation comprehensively and makes it easier to evaluate the function of different versions in the process of cross-cultural communication.
As a result, the investigation finds that the version by Liang Shiqiu is more faithful than fluent; the one by Yang Jingyuan more expressive than faithful; the one by Zhu Bingzhong faithful and domesticated at the same time; the Chinese translation of Peter Pan has evolved from conservatism in 1920s and expressiveness in 1980s to domestication in the first decade of this century.
《彼得·潘》的第一本中译本发表于1929年。到目前为止,直接讨论该小说中译的论文只有三篇,而且都着重于个别译本的批评,没有对小说中译的整体情况进行全面系统的总结。《彼得·潘》一共有多少中译本?哪些译本比较重要?该小说的中译经过了怎样的发展过程?本次研究力图回答这些问题。
首先,本文详细调查了国内外关于原著及其翻译的研究成果。总的来看,对原著的看法存在很大分歧,褒贬不一；国内的研究虽然不乏贡献与创造性,但在数量和质量上落后于西方；西方的研究比较充分、方法多样,但也有主观、片面的缺点。受到于连江博士的“多维视角下的文学翻译批评”中的“全景”视角的启发,本文从时代背景、作者生平和文学技巧三个方面重新评估了原著的艺术特色和思想价值。为进一步正确认识原著做出了努力,也为研究该小说的中译做好了准备。
然后,本文调查了我国八十年以来出版的各种与“彼得·潘”有关的图书。在调查获得的列表中,利用皮姆的“操作定义”和热内特的“侧文本”概念区分译本与非译本,最终确定了三十二种中译本。接着根据译者的权威性和这些译本出版和接受的情况,挑选出梁实秋、杨静远和朱宾忠的译本,分析该小说中译的发展过程及其不同时期的主要特点。
最后,本文运用于连江博士的“多维视角下的文学翻译批评”理论对这三个译本进行了分析、比较。该理论认为文学翻译批评应该兼顾宏观、中观和微观维度。宏观维度的意识形态、文化等要素在翻译研究中起调控和制约作用；中观维度的译者一方面受控于社会意识形态、文化等宏观要素,另一方面在翻译选择中起决定作用,即译者最终决定对原文文本进行多大程度上的取舍；微观维度是中观维度的译者与宏观维度的意识形态、社会文化之间进行信息交流的载体和依托。这三个维度互相作用、互相渗透、互相印证,构成了一个互动、互补、开放的动态参照体系,为全面认识翻译活动提供必要条件和客观基础,同时更容易挖掘出不同译本在文化交流中所体现的翻译价值。
通过分析,本文发现了梁译强调“信”而忽略“顺”,杨译强调“达”而忽略“信”,朱译既忠实、又归化的特点；小说中译经历了从上世纪二十年代的保守到八十年代的畅达再到本世纪初的归化这一发展过程。
The novel Peter Pan or Peter and Wendy published in 1911 is the most successful work written by Scottish dramatist and novelist J. M. Barrie. After translation, adaptation and rewriting for about a hundred years, "Peter Pan" has become a worldwide cultural icon in various artistic forms such as theatre, musical, fiction, comic, sculpture, movie, cartoon, TV and radio program, documentary, etc.
The first Chinese version of the fiction was published in 1929. So far, there have only been three articles focusing directly on the fiction's Chinese translation, all dedicated to the criticism of certain translated versions, but the Chinese translation of Peter Pan as a whole has not been studied comprehensively and systematically yet. How many Chinese versions are there? Which versions are more important? How has the Chinese translation of the fiction evolved? This research aims to answer these questions.
Firstly, researches about the fiction and its translation both at home and abroad are under close examination. Generally speaking, the original has been received quite differently and it has met both acclamation and denunciation; researches in China are comparatively inadequate and limited though not without ingenuity and contribution, while those in the west are flawed by subjectivity and one-sidedness though large in volume and rich in method. This paper, inspired by the "panoramic" view of "multidimensional literary translation criticism" proposed by Dr. Yu Lianjiang, reevaluates the artistry and significance of the original after investigating the time setting, the author's life and the literary techniques. The investigation makes efforts to reevaluate the original properly and to make preparation for the study on the Chinese translation of Peter Pan.
Secondly, an investigation is made on all kinds of Peter-Pan-related books published in China over the past eighty years. According to Pym's "working definitions" and Genette's "paratexts", translations are distinguished from nontranslations, and thirty two Chinese versions of the fiction are finally identified. Then judging by the authoritativeness of translators and the publication and circulation of these versions, the versions by Liang Shiqiu, Yang Jingyuan and Zhu Bingzhong are picked out as primary ones for analysis, with the aim to reflect the overall development of the Chinese translation of Peter Pan and the main features of the translation in different historical periods.
Lastly, the three versions are analyzed and compared within the theoretical framework of the "multidimensional literary translation criticism" proposed by Dr. Yu Lianjiang, who believes that literary translation criticism should be made simultaneously on macro, intermediate and micro dimensions. Elements on macro dimension such as ideology and culture manipulate translation; elements of translator on intermediate dimension are under the influence of macro elements such as ideology and culture on the one hand and make decisions in the process of translation on the other hand, namely, the translator decides how much of the original text will be reserved; micro dimension serves as the messenger and assistant for the exchange of information between the translator on intermediate dimension and ideology and culture on macro dimension. The three dimensions interact with each other, permeate each other and testify each other to form a dynamic reference system which is interactive, complementary and open. Providing necessary and objective conditions, the system makes it possible to understand translation comprehensively and makes it easier to evaluate the function of different versions in the process of cross-cultural communication.
As a result, the investigation finds that the version by Liang Shiqiu is more faithful than fluent; the one by Yang Jingyuan more expressive than faithful; the one by Zhu Bingzhong faithful and domesticated at the same time; the Chinese translation of Peter Pan has evolved from conservatism in 1920s and expressiveness in 1980s to domestication in the first decade of this century.
引文
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