写作视角下的英汉文学翻译
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摘要
本文的研究目的在于应用周姬昌的写作学理论和高健提出的语性说,从写作的角度来分析英汉文学翻译的过程。
林语堂许多早期文章具有两种文字文本,且大多是中文文本由作者本人译自英文文本,译文效果极佳。这种作者自我翻译的现象启发了翻译写作学的概念,用写作的态度来进行翻译活动,将更有利于译文保有原文的艺术和审美价值。
根据周姬昌的理论,写作活动分为三个进程:感知,运思和表达。感知是作者对写作对象形成感性认识的过程;运思是对文章整体以及局部进行构思的过程;而表达则是将作者的脑力劳动的成果外化为文字的活动。如果将这三个步骤应用到翻译活动中,译者在进行翻译时更能从全局上把握译文,统筹规划。要指出的是,在翻译表达的过程中,由于汉英民族思维方式的不同,使文字表达也产生了很大的差异,这点结合高健的语性说,归纳出汉英两种语言的表达偏好,从而使译者在英译汉的过程中能使用更加地道的中文。
中国文学向来视文采为衡量文章的好坏的关键标准,且本文的研究范围设定为英汉文学翻译,文学翻译不仅要求准确,也要求译者尽力保持原文的艺术和审美价值,因此译者在使用地道的中文准确地传达原文意思的同时,如能为译文注入“文气”,必然是锦上添花。四字格及古字虚词都是中文文采的有力表现,恰当应用,将有助于译文成为翻译文学。
最后,纵观众多中国作家型翻译家的翻译实践,与职业译者相比,他们表现出了许多的优势,例如对原文的理解以及对译语的使用,由此本文提出了写作素养对于译者的重要性。
This thesis aims at presenting an analysis of the process of English to Chinese literary translation from the perspective of writing by employing the writing theory advanced by Zhou Jichang and the language character theory proposed by Gao Jian.
There exist two linguistic versions for many of Lin Yutang's early writings, and most of the Chinese versions are translated by the writer himself from English versions. The effect of these translations is exceptionally excellent. This rare phenomenon of self-translation inspires the conception of writing translation (Actually, this term is coined by my supervisor, Professor Yang Shizhuo): it would be beneficial to the preservation of artistic and aesthetic value of the source text if the translator treats the translation as writing.
According to Zhou Jichang's writing theory, the process of writing can be divided into three phases: perception, thought operation and expression. Perception is a phase in which the writer forms a perceptual cognition of the target of writing; thought operation is a phase in which the writer conceives the whole and parts of the work to be written; expression is an activity to transform the fruit of the writer's mental labor into letters. If the translator follows these three phases in translation activities, he can grasp the work as a whole and carry out overall planning. It needs to be pointed out that, owing to the dissimilarities between Chinese and English thought patterns, literal expression of each nationality are accordingly quite different. Together with language character theory proposed by Gao Jian, we can deduce the expression preference of each nationality. With the deduction in mind, the translator's use of target language would be more idiomatic.
Chinese literature always regards literary grace as the standard to evaluate an article or work, and since the research scope of this thesis is English to Chinese literary translation, which not only requires the preciseness of the meaning, but also the preservation of artistic and aesthetical value of the source text, so it would be better if the translator can inject "Wenqi" (文气) into the target text and use the idiomatic Chinese to deliver the meaning of the source text precisely. The four-character structure (四字格), classical Chinese (文言) and function words (虚词) are all powerful devices to represent Chinese literary grace. With appropriate application of these devices, the target texts are likely to become translated literature.
At last, this thesis carries an overview of the translation practices of many Chinese writers. Compared with common professional translators, they show many advantages in translation, such as their comprehension of the source text and their command of the target language. Therefore, the thesis emphasizes the importance of writing attainments for a translator.
林语堂许多早期文章具有两种文字文本,且大多是中文文本由作者本人译自英文文本,译文效果极佳。这种作者自我翻译的现象启发了翻译写作学的概念,用写作的态度来进行翻译活动,将更有利于译文保有原文的艺术和审美价值。
根据周姬昌的理论,写作活动分为三个进程:感知,运思和表达。感知是作者对写作对象形成感性认识的过程;运思是对文章整体以及局部进行构思的过程;而表达则是将作者的脑力劳动的成果外化为文字的活动。如果将这三个步骤应用到翻译活动中,译者在进行翻译时更能从全局上把握译文,统筹规划。要指出的是,在翻译表达的过程中,由于汉英民族思维方式的不同,使文字表达也产生了很大的差异,这点结合高健的语性说,归纳出汉英两种语言的表达偏好,从而使译者在英译汉的过程中能使用更加地道的中文。
中国文学向来视文采为衡量文章的好坏的关键标准,且本文的研究范围设定为英汉文学翻译,文学翻译不仅要求准确,也要求译者尽力保持原文的艺术和审美价值,因此译者在使用地道的中文准确地传达原文意思的同时,如能为译文注入“文气”,必然是锦上添花。四字格及古字虚词都是中文文采的有力表现,恰当应用,将有助于译文成为翻译文学。
最后,纵观众多中国作家型翻译家的翻译实践,与职业译者相比,他们表现出了许多的优势,例如对原文的理解以及对译语的使用,由此本文提出了写作素养对于译者的重要性。
This thesis aims at presenting an analysis of the process of English to Chinese literary translation from the perspective of writing by employing the writing theory advanced by Zhou Jichang and the language character theory proposed by Gao Jian.
There exist two linguistic versions for many of Lin Yutang's early writings, and most of the Chinese versions are translated by the writer himself from English versions. The effect of these translations is exceptionally excellent. This rare phenomenon of self-translation inspires the conception of writing translation (Actually, this term is coined by my supervisor, Professor Yang Shizhuo): it would be beneficial to the preservation of artistic and aesthetic value of the source text if the translator treats the translation as writing.
According to Zhou Jichang's writing theory, the process of writing can be divided into three phases: perception, thought operation and expression. Perception is a phase in which the writer forms a perceptual cognition of the target of writing; thought operation is a phase in which the writer conceives the whole and parts of the work to be written; expression is an activity to transform the fruit of the writer's mental labor into letters. If the translator follows these three phases in translation activities, he can grasp the work as a whole and carry out overall planning. It needs to be pointed out that, owing to the dissimilarities between Chinese and English thought patterns, literal expression of each nationality are accordingly quite different. Together with language character theory proposed by Gao Jian, we can deduce the expression preference of each nationality. With the deduction in mind, the translator's use of target language would be more idiomatic.
Chinese literature always regards literary grace as the standard to evaluate an article or work, and since the research scope of this thesis is English to Chinese literary translation, which not only requires the preciseness of the meaning, but also the preservation of artistic and aesthetical value of the source text, so it would be better if the translator can inject "Wenqi" (文气) into the target text and use the idiomatic Chinese to deliver the meaning of the source text precisely. The four-character structure (四字格), classical Chinese (文言) and function words (虚词) are all powerful devices to represent Chinese literary grace. With appropriate application of these devices, the target texts are likely to become translated literature.
At last, this thesis carries an overview of the translation practices of many Chinese writers. Compared with common professional translators, they show many advantages in translation, such as their comprehension of the source text and their command of the target language. Therefore, the thesis emphasizes the importance of writing attainments for a translator.
引文
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[12]陈平原.新青年文选[C].贵阳:贵州教育出版社,2003.
[13]丁玲.生活·创作·修养[M].北京:人民文学出版社,1981.
[14]冯庆华.实用翻译教程[M].上海:上海译文出版社,2003.
[15]傅敏.傅雷谈翻译[M].北京:当代世界出版社,2006.
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[19]贾锦福.文心雕龙词典[Z].济南:济南出版社,1993.
[20]李瑞华.英汉语言文化对比研究[M].上海:上海教育出版社,1999.
[21]连淑能.论中西思维方式[J].外语与外语教学,2002,(2):40-48.
[22]林煌天。中国翻译词典[M].武汉:湖北教育出版,1997.
[23]刘宓庆.思维方式、表现法和翻译问题[J].现代外语,1993,(1).
[24]刘宓庆.翻译与语言哲学[M].北京:中国对外翻译出版公司,2001.
[25]罗新璋.翻译论集[C].北京:商务印书馆,1984.
[26]潘文国.汉英对比纲要[M]北京:北京语言文化大学出版社,1997.
[27]钱冠连.美学语言—语言美和言语美[M].深圳:海天出版社,1993.
[28]孙犁.文艺学习[M].北京:作家出版社,1964.
[29]孙迎春.译学大辞典[M].北京:中国世界语出版社,1999.
[30]王蒙.谈短篇小说创作技巧[J].人民文学,1980,(7):54-55.
[31]王蒙.关于塑造典型人物问题的一些探讨[J].北京文学 1982,(1):24-26.
[32]王寿兰.当代文学翻译百家谈[C].北京:北京大学出版社,1989.
[33]王治奎.大学英汉翻译教程[M].济南:山东大学出版社,2002.
[34]翁显良.写实与寓意——谈记叙文翻译[J].翻译通讯,1982,(1):12-15.
[35]徐迟.瓦尔登湖[M].上海:上海译文出版社,2000.
[36]许渊冲.文学与翻译[M].北京:北京大学出版社,2003.
[37]杨辛,甘霖.美学原理[M].北京:北京大学出版社,1992.
[38]杨自俭,刘学云.翻译新论[M].武汉:湖北教育出版社,1994.
[39]余光中.余光中选集第四卷:语文及翻译论集[C].合肥:安徽教育出版社,1999.
[40]张培基.英汉翻译教程[M].上海:上海外语教育出版社,1980.
[41]周姬昌.写作学高级教程[M].武汉:武汉大学出版社,2004.
[42]朱娥.从英汉民族思维差异看句子翻译[J].安康师专学报,2005,(3):43-49.
[43]庄绎传.英汉翻译教程[M].北京:外语教学与研究出版社,1999.
[44]张亦辉.翻译琐谈[J].世界文学,2002,(6):267-272.
[2]Hatim,H & Mason,I.Discourse and the Translator[M].Shanghai:Shanghai Foreign Language Education Press,2001.
[3]Hu Shuzhong.English Rhetoric[M].Shanghai:Shanghai Foreign Language Education Press,2002.
[4]Nida,E.A.Language,Culture,and Translating[M].Shanghai:Shanghai Foreign Language Education Press,1993.
[5]Pontiero,Giovanni.The Translator's Dialogue[M].Amsterdam:John Benjamin Publishing Company,1997
[6]Thoreau,D.Henry.Walden and Other Writings[M].Toronto:Bantam Books,1981.
[7]艾舒仁.郑板桥文集[C].成都:四川美术出版社,2005.
[8]彼德罗夫斯基.普通心理学[C].朱智贤等译.北京:人民教育出版社,1981.
[9]别林斯基.别林斯基论文学[M].上海:新文艺出版社,1958.
[10]蔡基刚.英汉写作修辞对比[M].上海:复旦大学出版社,2003.
[11]陈宏薇.真情地久天长[C].武汉:华中理工大学出版社,2000.
[12]陈平原.新青年文选[C].贵阳:贵州教育出版社,2003.
[13]丁玲.生活·创作·修养[M].北京:人民文学出版社,1981.
[14]冯庆华.实用翻译教程[M].上海:上海译文出版社,2003.
[15]傅敏.傅雷谈翻译[M].北京:当代世界出版社,2006.
[16]宇清,信德.外国作家谈写作[C].北京:北京出版社,1980.
[17]高健.翻译与鉴赏[M].北京:外语教学与研究出版社,2006.
[18]胡曙中.英汉修辞比较研究[M].上海:上海外语教育出版社,1993.
[19]贾锦福.文心雕龙词典[Z].济南:济南出版社,1993.
[20]李瑞华.英汉语言文化对比研究[M].上海:上海教育出版社,1999.
[21]连淑能.论中西思维方式[J].外语与外语教学,2002,(2):40-48.
[22]林煌天。中国翻译词典[M].武汉:湖北教育出版,1997.
[23]刘宓庆.思维方式、表现法和翻译问题[J].现代外语,1993,(1).
[24]刘宓庆.翻译与语言哲学[M].北京:中国对外翻译出版公司,2001.
[25]罗新璋.翻译论集[C].北京:商务印书馆,1984.
[26]潘文国.汉英对比纲要[M]北京:北京语言文化大学出版社,1997.
[27]钱冠连.美学语言—语言美和言语美[M].深圳:海天出版社,1993.
[28]孙犁.文艺学习[M].北京:作家出版社,1964.
[29]孙迎春.译学大辞典[M].北京:中国世界语出版社,1999.
[30]王蒙.谈短篇小说创作技巧[J].人民文学,1980,(7):54-55.
[31]王蒙.关于塑造典型人物问题的一些探讨[J].北京文学 1982,(1):24-26.
[32]王寿兰.当代文学翻译百家谈[C].北京:北京大学出版社,1989.
[33]王治奎.大学英汉翻译教程[M].济南:山东大学出版社,2002.
[34]翁显良.写实与寓意——谈记叙文翻译[J].翻译通讯,1982,(1):12-15.
[35]徐迟.瓦尔登湖[M].上海:上海译文出版社,2000.
[36]许渊冲.文学与翻译[M].北京:北京大学出版社,2003.
[37]杨辛,甘霖.美学原理[M].北京:北京大学出版社,1992.
[38]杨自俭,刘学云.翻译新论[M].武汉:湖北教育出版社,1994.
[39]余光中.余光中选集第四卷:语文及翻译论集[C].合肥:安徽教育出版社,1999.
[40]张培基.英汉翻译教程[M].上海:上海外语教育出版社,1980.
[41]周姬昌.写作学高级教程[M].武汉:武汉大学出版社,2004.
[42]朱娥.从英汉民族思维差异看句子翻译[J].安康师专学报,2005,(3):43-49.
[43]庄绎传.英汉翻译教程[M].北京:外语教学与研究出版社,1999.
[44]张亦辉.翻译琐谈[J].世界文学,2002,(6):267-272.