《喜福会》翻译中的译者主体性
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摘要
本文关注美国华裔文学作品《喜福会》中文翻译中译者主体性的体现。译者主体性经历了从忽视到逐步重视的过程。译者从“忠实”到体现“主体性”的这一地位转变为文学翻译评论提供了全新视角。20世纪80年代末90年代初,美国华裔文学逐渐得到了中美两国学术界的广泛关注,由于其作品涉及的主题以及此类作品的作者所具有的特殊生活背景,读者在阅读此类译著的过程中,不仅体会到了不同民族之间、文化之间存在的人类相通的共性,也通过华裔作家的笔触感受到了中美文化和价值观的冲突与交融。因此,美国华裔文学的翻译在一定程度上也是文化翻译。作为文学翻译中连接原作与译作、原作作者与译作读者的译者在这种文化翻译中的主体性不可避免。
《喜福会》是华裔作家谭恩美的代表作品,讲述了四位中国移民母亲与她们在美国出生的女儿从误解、冲突到理解的故事,作品通过母女的冲突折射了中美文化的冲突。小说在1989年出版之时在美国获得巨大成功。在中国内地,1992年春风文艺出版社出版了田青翻译的《喜福会》,2006年上海译文出版社邀请作家程乃珊翻译出版了最新版本的《喜福会》。
本文通过对1992、2006年两个译本的对比研究,援引大量译例,从翻译方法层面、文化还原层面、翻译策略层面分析《喜福会》翻译中译者主体性的体现。具体包含标题翻译,人名翻译,拼音内容的翻译,对话内容的翻译,中国文化内容的翻译、增译、减译、改译等内容。并对两个译本中的误译进行分析,强调文学翻译中译者主体性和忠实性的统一是译者不可回避的问题,译者主体性的客观存在和忠实的标准并不矛盾,译者主体性的发挥首先应受到原作的限制。同时,呼吁翻译批评界对体现译者主体性的译本、译例进行客观评判,并期待更多、更好的美国华裔文学作品的翻译、复译。
The paper focuses on the translator's subjectivity in the Chinese translations of The Joy Luck Club. The translator's subjectivity experienced a process of being neglected and now has been recognized. The transitional status of the translator, from being a faithful translator to showing subjectivity, provides a new perspective to literature translation review. In the last years of 1980s and the first years of 1990s, Chinese American Literature has come to its blossom. And then researches on this field have been attracting scholars from America and China as well. Due to the unique themes and the authors'special position of Chinese American Literature, readers not only feel the similarity between two nations and cultures but also sense the conflict and communication between American values and Chinese ones. Translation of Chinese American Literature is a certain cultural translation in some degree. While the translators of literary works, the only link between the original works and the translated works, between the writer and the readers, show their subjectivity inevitably.
The Joy Luck Club, a representative work of Amy Tan, describes the conflicts, misunderstanding and understanding among four immigrant mothers and their America-born daughters. Conflicts among mothers and daughters reflect conflicts between American culture and Chinese culture. The exotic descriptions of mothers'early life in China and life style of Chinese Americans contribute to the extraordinary success of The Joy Luck Club in 1989. In the mainland China, Chunfeng Art Press published the Chinese version of The Joy Luck Club translated by Tian Qing in 1992. In 2006, the writer Cheng Naishan was invited by Shanghai Yiwen Press to publish the newest version of The Joy Luck Club.
The paper intends to do a comparative research on the two versions of The Joy Luck Club and dig out typical examples to illustrate the translator's subjectivity. The research will be carried out on the aspects of translation methods, restoration of culture and translation strategy. And different translations of subtitles, names, pinyin, dialogue, Chinese culture, edited translation, abridged translation and adapted translation as well as the errors made by the translators are included, by which, the balance of the translator's subjectivity and fidelity based on the original works is emphasized in literary translation. The translator's subjectivity doesn't conflict with fidelity of the source language, while subjectivity should function with the source language as the first constraint. At last, the paper appeals to more objective criticism of the literary works with the translator's subjectivity involved in it, and expects better and more translations of Chinese American Literature works.
《喜福会》是华裔作家谭恩美的代表作品,讲述了四位中国移民母亲与她们在美国出生的女儿从误解、冲突到理解的故事,作品通过母女的冲突折射了中美文化的冲突。小说在1989年出版之时在美国获得巨大成功。在中国内地,1992年春风文艺出版社出版了田青翻译的《喜福会》,2006年上海译文出版社邀请作家程乃珊翻译出版了最新版本的《喜福会》。
本文通过对1992、2006年两个译本的对比研究,援引大量译例,从翻译方法层面、文化还原层面、翻译策略层面分析《喜福会》翻译中译者主体性的体现。具体包含标题翻译,人名翻译,拼音内容的翻译,对话内容的翻译,中国文化内容的翻译、增译、减译、改译等内容。并对两个译本中的误译进行分析,强调文学翻译中译者主体性和忠实性的统一是译者不可回避的问题,译者主体性的客观存在和忠实的标准并不矛盾,译者主体性的发挥首先应受到原作的限制。同时,呼吁翻译批评界对体现译者主体性的译本、译例进行客观评判,并期待更多、更好的美国华裔文学作品的翻译、复译。
The paper focuses on the translator's subjectivity in the Chinese translations of The Joy Luck Club. The translator's subjectivity experienced a process of being neglected and now has been recognized. The transitional status of the translator, from being a faithful translator to showing subjectivity, provides a new perspective to literature translation review. In the last years of 1980s and the first years of 1990s, Chinese American Literature has come to its blossom. And then researches on this field have been attracting scholars from America and China as well. Due to the unique themes and the authors'special position of Chinese American Literature, readers not only feel the similarity between two nations and cultures but also sense the conflict and communication between American values and Chinese ones. Translation of Chinese American Literature is a certain cultural translation in some degree. While the translators of literary works, the only link between the original works and the translated works, between the writer and the readers, show their subjectivity inevitably.
The Joy Luck Club, a representative work of Amy Tan, describes the conflicts, misunderstanding and understanding among four immigrant mothers and their America-born daughters. Conflicts among mothers and daughters reflect conflicts between American culture and Chinese culture. The exotic descriptions of mothers'early life in China and life style of Chinese Americans contribute to the extraordinary success of The Joy Luck Club in 1989. In the mainland China, Chunfeng Art Press published the Chinese version of The Joy Luck Club translated by Tian Qing in 1992. In 2006, the writer Cheng Naishan was invited by Shanghai Yiwen Press to publish the newest version of The Joy Luck Club.
The paper intends to do a comparative research on the two versions of The Joy Luck Club and dig out typical examples to illustrate the translator's subjectivity. The research will be carried out on the aspects of translation methods, restoration of culture and translation strategy. And different translations of subtitles, names, pinyin, dialogue, Chinese culture, edited translation, abridged translation and adapted translation as well as the errors made by the translators are included, by which, the balance of the translator's subjectivity and fidelity based on the original works is emphasized in literary translation. The translator's subjectivity doesn't conflict with fidelity of the source language, while subjectivity should function with the source language as the first constraint. At last, the paper appeals to more objective criticism of the literary works with the translator's subjectivity involved in it, and expects better and more translations of Chinese American Literature works.
引文
Tan, Amy. The Joy Luck Club. New York:G.P.PUTNAM'S SONS,1989.
田青译,《喜福会》,春风文艺出版社,1992.
程乃珊译,《喜福会》,上海译文出版社,2006.
[1]袁莉.关于翻译主体研究的构想.张柏然,许钧.面向21世纪的译学研究.北京：商务印书馆,2002.
[2]Venuti Lawrence. TheTranslator'slnvisibility A History of Translation. Shanghai Foreign Language Education Press,2004.
[3]许钧.“创造性叛逆”和翻泽主体性的确立.中国翻译,2003,(1).
[4]谢天振.译介学.上海：上海外语教育出版社,1999.
[5]屠国元,朱献珑.译者主体性：阐释学的阐释.中国翻译,2003,(6).
[6]查明建,田雨.论译者主体性——从译者文化地位的边缘化谈起.中国翻译,2003,(1).
[7]仲伟合,周静.译者的极限与底线——试论译者主体性与译者的天职.外语与外语教学,2006,(7).
[8]胡庚中.从“译者主体”到“译者中心”.中国翻译,2004,(3).
[9]王东风. 解构“忠实”——翻泽神话的终结.中国翻译,2004,(6).
[10]王理行,郭英剑.论Chinese American Literature的中文译名及其界定.外国文学,2001,(2).
[l1]王光林.翻译与华裔作家文化身份的塑造.外国文学评论,2002(4).
[12]程爱民.美国华裔文学研究.北京大学出版社,2003.
[13]郑传良.美国著名华裔女作家——谭恩美.海内与海外,1995,(7).
[14]王宏印.文学翻译批评论稿.上海外语教育出版社,2006, (2)
[15]田德蓓.译者的身份.中国翻译,2000,(6).
[16]方梦之.译者的工作心理.外语与外语教学(大连外国语学院学报),1999,(12).
[17]Newmark, Peter. Approaches to Translation. Shanghai:Shanghai Foreign Language Education Press, 2001.
[18]张瑞华.简论麻将与《喜福会》的主题和结构.程爱民主编.《美国华裔文学研究》.北京大学出版社,2003.
[19]郑娴.论谭恩美小说中“母亲形象”及母女关系的文化内涵.程爱民主编.《美国华裔文学研究》.北京大学出版社,2003.
[20]屠国元,袁圆.论文学翻译中译者的审美心理能力.中国翻译,2006,(3).
[21]Translation's Representations. Theo Hermans(翻泽的再现田德蓓译).谢天振.翻译的理论建
构与文化透视.上海外语教育出版社,2000.
[22]孙艺风.视角阐释文化——文学翻译与翻译理论.清华大学出版社,2004.
[23]Nord, C. Translating as a Purposeful Activity-Functionalist Approaches Explained. Manchester: ST Jerome Publishing,2001.
[24]Katharina Reiss. Translated by Erroll F. Rhodes. Translation Criticism The Potential & Limitations. Shanghai Foreign Language Education Press,2004.
[25]胡亚敏.当代移民的新角色——论《喜福会》中华裔对其文化身份的新认知.程爱民主编《美国华裔文学研究》.北京大学出版社,2003.
[26]吕敏宏.“足译”与“忠实”——《红楼梦》英译本比较研究.外语与外语教学,2002,(7).
[27]Munday, Jeremy. Introducing Translation Studies:Theories and Applications. London and New York:Routledge,2001.
[28]Bassnett, Susan and Lefevere, Andre. Where are we in translation studies? Constructing Cultures Essays on Literary Translations. Shanghai Foreign Language Education Press,2001.
[29]Bassnett, Susan.2002. Translation Studies,3rd ed. Shanghai:Shanghai Foreign Language Education Press,2004.
[30]胡勇.文化的乡愁——美国华裔文学的文化认同.北京：中国戏剧出版社,2003.
[31]施敏捷.文本风格与创作语境——由小说《喜福会》谈起.社会科学,2001,(11).
[32]于秀娟.双重身份下的双重写作——谈谭恩美、汤亭亭作品中的异国形象.聊城大学学报(社会科学版),2003,(2).
[33]孙致礼.再谈文学翻译的策略问题.中国翻译,2003,(1).
[34]方梦之主编. 译学辞典. 上海外语教育出版社,2004.
[35]刘芳.美国华裔英语文学翻译中的回译问题——《喜福会》及其中译本个案研究.山东外语教学.2005,(6).
[36]马会娟. 当代西方翻译研究概况——兼谈Maria Tymoczko的翻译观.中国翻译,2001,(2).
[37]金圣华.“翻译工作坊”简介——谭恩美《喜幸会》的翻译. 译道行. 武汉：湖北教育出版社,2002.
[38]中丹.略论西方现代文学文体学在小说翻译中的作用.张柏然,许钧主编.面向21世纪的译学研究.商务印书馆,2002.
[39]Mark Shuttleworth, Moira Cowie. Dictionary of Translation Studies. Shanghai Foreign Language Education Press,2004.
[40]王东风.文化差异与读者反应.郭建中. 文化与翻译. 中国对外翻译出版公司,2000.
[41]王理行.忠实是文学翻译的目标和标准——谈文学翻译和文学翻译批评.外国文学,2003,(2).
[42]罗进德.谈谈误译的文化背景. 郭建中.文化与翻译. 中国对外翻译出版公司,2000.
[43]陈大亮.谁是翻译主体.中国翻译,2004,(2).
[44]曹明伦.论以忠实为取向的翻译标准——兼论严复的“信达雅”.中国翻译,2006,(4)
[45]茅盾.为发展文学翻译事业和提高翻译质量而奋斗.翻译研究论文集(1949-1983).外语教学与研究出版社,1984.
[46]曹明伦.译者应始终牢记翻译的目的. 中国翻译,2003,(4)
[47]卫景宜. 西方语境的中国故事——论美国华裔英语文学的中国文化书写.·96·华文文学,2001,(4).
①母女情深-《喜福会》(2006)译后感P259-260
①母女情深——《喜福会》(2006)译后感P260
田青译,《喜福会》,春风文艺出版社,1992.
程乃珊译,《喜福会》,上海译文出版社,2006.
[1]袁莉.关于翻译主体研究的构想.张柏然,许钧.面向21世纪的译学研究.北京：商务印书馆,2002.
[2]Venuti Lawrence. TheTranslator'slnvisibility A History of Translation. Shanghai Foreign Language Education Press,2004.
[3]许钧.“创造性叛逆”和翻泽主体性的确立.中国翻译,2003,(1).
[4]谢天振.译介学.上海：上海外语教育出版社,1999.
[5]屠国元,朱献珑.译者主体性：阐释学的阐释.中国翻译,2003,(6).
[6]查明建,田雨.论译者主体性——从译者文化地位的边缘化谈起.中国翻译,2003,(1).
[7]仲伟合,周静.译者的极限与底线——试论译者主体性与译者的天职.外语与外语教学,2006,(7).
[8]胡庚中.从“译者主体”到“译者中心”.中国翻译,2004,(3).
[9]王东风. 解构“忠实”——翻泽神话的终结.中国翻译,2004,(6).
[10]王理行,郭英剑.论Chinese American Literature的中文译名及其界定.外国文学,2001,(2).
[l1]王光林.翻译与华裔作家文化身份的塑造.外国文学评论,2002(4).
[12]程爱民.美国华裔文学研究.北京大学出版社,2003.
[13]郑传良.美国著名华裔女作家——谭恩美.海内与海外,1995,(7).
[14]王宏印.文学翻译批评论稿.上海外语教育出版社,2006, (2)
[15]田德蓓.译者的身份.中国翻译,2000,(6).
[16]方梦之.译者的工作心理.外语与外语教学(大连外国语学院学报),1999,(12).
[17]Newmark, Peter. Approaches to Translation. Shanghai:Shanghai Foreign Language Education Press, 2001.
[18]张瑞华.简论麻将与《喜福会》的主题和结构.程爱民主编.《美国华裔文学研究》.北京大学出版社,2003.
[19]郑娴.论谭恩美小说中“母亲形象”及母女关系的文化内涵.程爱民主编.《美国华裔文学研究》.北京大学出版社,2003.
[20]屠国元,袁圆.论文学翻译中译者的审美心理能力.中国翻译,2006,(3).
[21]Translation's Representations. Theo Hermans(翻泽的再现田德蓓译).谢天振.翻译的理论建
构与文化透视.上海外语教育出版社,2000.
[22]孙艺风.视角阐释文化——文学翻译与翻译理论.清华大学出版社,2004.
[23]Nord, C. Translating as a Purposeful Activity-Functionalist Approaches Explained. Manchester: ST Jerome Publishing,2001.
[24]Katharina Reiss. Translated by Erroll F. Rhodes. Translation Criticism The Potential & Limitations. Shanghai Foreign Language Education Press,2004.
[25]胡亚敏.当代移民的新角色——论《喜福会》中华裔对其文化身份的新认知.程爱民主编《美国华裔文学研究》.北京大学出版社,2003.
[26]吕敏宏.“足译”与“忠实”——《红楼梦》英译本比较研究.外语与外语教学,2002,(7).
[27]Munday, Jeremy. Introducing Translation Studies:Theories and Applications. London and New York:Routledge,2001.
[28]Bassnett, Susan and Lefevere, Andre. Where are we in translation studies? Constructing Cultures Essays on Literary Translations. Shanghai Foreign Language Education Press,2001.
[29]Bassnett, Susan.2002. Translation Studies,3rd ed. Shanghai:Shanghai Foreign Language Education Press,2004.
[30]胡勇.文化的乡愁——美国华裔文学的文化认同.北京：中国戏剧出版社,2003.
[31]施敏捷.文本风格与创作语境——由小说《喜福会》谈起.社会科学,2001,(11).
[32]于秀娟.双重身份下的双重写作——谈谭恩美、汤亭亭作品中的异国形象.聊城大学学报(社会科学版),2003,(2).
[33]孙致礼.再谈文学翻译的策略问题.中国翻译,2003,(1).
[34]方梦之主编. 译学辞典. 上海外语教育出版社,2004.
[35]刘芳.美国华裔英语文学翻译中的回译问题——《喜福会》及其中译本个案研究.山东外语教学.2005,(6).
[36]马会娟. 当代西方翻译研究概况——兼谈Maria Tymoczko的翻译观.中国翻译,2001,(2).
[37]金圣华.“翻译工作坊”简介——谭恩美《喜幸会》的翻译. 译道行. 武汉：湖北教育出版社,2002.
[38]中丹.略论西方现代文学文体学在小说翻译中的作用.张柏然,许钧主编.面向21世纪的译学研究.商务印书馆,2002.
[39]Mark Shuttleworth, Moira Cowie. Dictionary of Translation Studies. Shanghai Foreign Language Education Press,2004.
[40]王东风.文化差异与读者反应.郭建中. 文化与翻译. 中国对外翻译出版公司,2000.
[41]王理行.忠实是文学翻译的目标和标准——谈文学翻译和文学翻译批评.外国文学,2003,(2).
[42]罗进德.谈谈误译的文化背景. 郭建中.文化与翻译. 中国对外翻译出版公司,2000.
[43]陈大亮.谁是翻译主体.中国翻译,2004,(2).
[44]曹明伦.论以忠实为取向的翻译标准——兼论严复的“信达雅”.中国翻译,2006,(4)
[45]茅盾.为发展文学翻译事业和提高翻译质量而奋斗.翻译研究论文集(1949-1983).外语教学与研究出版社,1984.
[46]曹明伦.译者应始终牢记翻译的目的. 中国翻译,2003,(4)
[47]卫景宜. 西方语境的中国故事——论美国华裔英语文学的中国文化书写.·96·华文文学,2001,(4).
①母女情深-《喜福会》(2006)译后感P259-260
①母女情深——《喜福会》(2006)译后感P260