淡妆浓抹总相宜：明清传奇的英译
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摘要
中国古代文人剧作家创作的明清传奇是中国古典文学发展到较高阶段的产物。明清传奇在中国文学史上占有重要地位,具有很高的文学价值,同时也是中国传统文化的典型代表。明清传奇的英译实践目前已经得到一定的发展,然而翻译界对明清传奇英译的理论研究相对不够充分。理论的主要功能是其认识功能,为了深刻地认识和解释明清传奇英译的翻译实践、揭示明清传奇英译的翻译规律,本文以描述性翻译研究为基础,通过对明清传奇的文本分析和对《琵琶记》、《牡丹亭》、《长生殿》和《桃花扇》四部明清传奇的七个英语译本进行的案例分析,建立明清传奇英译的翻译原则和翻译模式。
科学、客观的研究成果需要有科学的理论依据为保障,为了确保研究成果的可靠性,本文在进行明清传奇的英译理论研究时把与翻译相关的文本分析、翻译语料库、翻译转换研究和翻译规范等手段有机地结合起来,既注重定性分析也注重定量分析,既注重系统分析也注重综合分析,使整个研究集描述性、分析性、比较性、解释性、评价性和统计性六种属性于一身,目的是确保所建立的翻译原则和翻译模式具有真正意义的学术价值。具体来说,本文的描述性翻译研究以对明清传奇的文本分析为起点。文本分析属于定性分析,通过文本分析本文总结出明清传奇的文学文本具有语言层面、文学层面、文化层面和美学层面四个层面的特征,其中语言、文学和文化层面的特征分布在文本的不同层次中,而美学层面的特征实际上包括分散于其他三个层次中的能够带来审美体验的信息,并且不同层面的特征之间具有不可割裂的相互关系。确定文本特征之后的工作就是以研究所选择的案例为语料建立翻译语料库,并参照所挑选出的文本特征设计语料库的标注方案,然后根据标注方案对语料库中的语料进行文本特征与翻译特征的人工标注。标注后的语料库就可以通过检索提取所需的数据,对研究对象进行定量分析。除了以语料库为基础的定量分析之外,对所选案例的翻译转换研究还需要根据具体情况进行定性分析。定量分析和定性分析的目的都是寻找译者在翻译具体的文本特征时采取的普遍性翻译策略,即翻译规范,和个性化翻译行为。将译者的翻译规范与个性化翻译行为进行综合分析和整合之后就可以提出明清传奇的翻译原则,进而建立明清传奇英译的翻译模式。
通过定性分析和以语料库为基础的定量分析,本文建立了明清传奇的总体翻译原则、各个层面特征的具体翻译原则及同时处理明清传奇不同层面特征的动态翻译原则。另外,本文还在系统、综合分析的基础上建立了明清传奇英译的翻译模式,包括自然主义模式、现实主义模式、印象主义模式和唯美主义模式,本文所选的七个译本分别是这四个翻译模式的典型代表。当然,本文建立的四种模式的正确性和解释力都有待在将来的翻译实践中进行检验,如果这些模式能经受住足够翻译实践的检验,明清传奇的翻译理论便能够最终建立起来。总的来说,本文认为,不论采用哪种翻译模式,只要译文能够实现翻译的交际目的,能够体现明清传奇的基本特征,就是有价值的翻译作品。如果译文能在此前提下最大限度地再现明清传奇的美学特征,就可以称为佳作。正所谓,“淡妆浓抹总相宜”,翻译的艺术追求是永无止境的,明清传奇的翻译世界中永远只有更“浓”的译作,永远没有最“浓”的译作,但即使是最“淡”的译文,它折射到目的语中的也是一抹飞红。明清传奇的英译就是要求在满足“淡妆”的最低标准的基础上不断向着“浓妆”的最高标准前进——“学无止境”,艺术更无止境。
Written by the ancient Chinese literary men, the Chuanqi Drama of the Ming and Qing Dynasties are the fruitful products of the Chinese classical literature as it evolves into a comparatively advanced stage. Being a typical representative of the traditional Chinese culture, they play a very important role in the Chinese literary history as they do possess great literary value. Up till now, the English translation practice of the Chuanqi Drama has been going on for some time, which has already yielded recognizable achievements; however, the theoretical research into the English translation of these drama has been relatively inadequate within the world of translation studies. The chief function of theory lies in its epistemological nature; therefore, this dissertation is committed to acquiring profound knowledge in understanding and interpreting the English translation practice of such drama and to revealing the translation laws involved. Based on descriptive translation studies, it aims at constructing translation principles and translation modes for the English translation of this special kind of drama through text analysis of the source text in general and case studies of seven English translation versions of four plays including The Lute, The Peony Pavilion, The Palace of Eternal Youth and The Peach Blossom Fan.
Scientific and objective research findings should be based on scientific theoretical foundation, in view of which the present dissertation incorporates translationally relevant text analysis, translation corpus, translation shift analysis and translation norms into the theoretical research of the English translation of the Chuanqi Drama, so as to achieve validity for the research findings. Giving emphasis to both qualitative and quantitative analysis and attaching importance to both systematic and synthetic analysis, the research carried out in this dissertation boasts of a combination of six kinds of methodological nature, namely, the descriptive nature, the analytical nature, the comparative nature, the interpretative nature, the evaluative nature and the statistical nature, which work together to ensure that the translation principles and translation modes constructed in the dissertation should be of genuine academic significance. Specifically speaking, the descriptive translation studies adopted in this research start with text analysis of the Chuanqi Drama, which falls into the category of qualitative analysis. Through such analysis, four layers of textual features are extracted, including features in the linguistic layer, the literary layer, the cultural layer and the aesthetic layer, among which the first three layers of features are distributed on different text levels while aesthetic features indeed consist of information that is selected from the other three levels which is able to bring about aesthetic experience. In addition, features from different text levels are always interrelated to each other, constituting an integral identity for the Chuanqi Drama. After identifying the textual features, the translation corpus made up of the selected cases for study is built up and then different annotation schemes are subsequently designed based on the identified textual features. With such annotation schemes, the corpus is accordingly annotated manually at different levels for their textual features and the corresponding translation features. Consequently, useful data are retrieved from the annotated corpus and are later used to make quantitative analysis of the subject under study. Besides quantitative analysis based on the translation corpus, qualitative analysis is carried out as well since it is also necessary for researching translation shifts under certain circumstances. Both qualitative and quantitative analysis is employed with the aim of identifying universal translation strategies, namely the translation norms, and individualized translation strategies adopted by translators when translating specific textual features. The identified translation norms and individualized translation acts are then synthesized and integrated so as to establish translation principles and translation modes for the English translation of the Chuanqi Drama.
Based on the findings obtained from both the qualitative and quantitative analysis, the present dissertation establishes general principles for translating the Chuanqi Drama of the Ming and Qing Dynasties, specific principles for translating each layer of textual features and dynamic principles for simultaneously translating interrelated textual features. In addition, it also constructed four modes for the English translation of the Chuanqi Drama, including the naturalistic mode, the realistic mode, the impressionistic mode and the aesthetic mode, with the seven versions of translation involved in the study as their respective representatives. Naturally, the four translation modes constructed in the dissertation are subject to the testing of future translation practice for their validity and interpretative power. If these modes should survive the testing of adequate translation practice, the theory for the English translation of the Chuanqi Drama of the Ming and Qing Dynasties would be finally established. All in all, no matter which mode a translator adopts, the present dissertation maintains that, any translation is considered as valuable so long as it can achieve its communication aim and reveal the basic character of the drama. Furthermore, if the translation could reproduce their aesthetic features to the utmost extent on such basis, it is naturally regarded as excellent work of translation. Just as the poem goes, the Western Lake is always charming in either light or heavy makeup. The same is true with the translation of the Chuanqi Drama—there is no limit to the pursuit of the art of translation. Hence, in the translation world of these drama, there will always be“heavier”work of translation and there will never be“the heaviest”work of translation; nevertheless, even“the lightest”translation is still qualified to project a ray of redness into the target language. The English translation of the Chuanqi Drama simply requires that the translation can satisfy the lowest standard of“light makeup”and constantly stride forward to the highest standard of“heavy makeup”—there is no limit to study and there is even no limit to artistic pursuit.
科学、客观的研究成果需要有科学的理论依据为保障,为了确保研究成果的可靠性,本文在进行明清传奇的英译理论研究时把与翻译相关的文本分析、翻译语料库、翻译转换研究和翻译规范等手段有机地结合起来,既注重定性分析也注重定量分析,既注重系统分析也注重综合分析,使整个研究集描述性、分析性、比较性、解释性、评价性和统计性六种属性于一身,目的是确保所建立的翻译原则和翻译模式具有真正意义的学术价值。具体来说,本文的描述性翻译研究以对明清传奇的文本分析为起点。文本分析属于定性分析,通过文本分析本文总结出明清传奇的文学文本具有语言层面、文学层面、文化层面和美学层面四个层面的特征,其中语言、文学和文化层面的特征分布在文本的不同层次中,而美学层面的特征实际上包括分散于其他三个层次中的能够带来审美体验的信息,并且不同层面的特征之间具有不可割裂的相互关系。确定文本特征之后的工作就是以研究所选择的案例为语料建立翻译语料库,并参照所挑选出的文本特征设计语料库的标注方案,然后根据标注方案对语料库中的语料进行文本特征与翻译特征的人工标注。标注后的语料库就可以通过检索提取所需的数据,对研究对象进行定量分析。除了以语料库为基础的定量分析之外,对所选案例的翻译转换研究还需要根据具体情况进行定性分析。定量分析和定性分析的目的都是寻找译者在翻译具体的文本特征时采取的普遍性翻译策略,即翻译规范,和个性化翻译行为。将译者的翻译规范与个性化翻译行为进行综合分析和整合之后就可以提出明清传奇的翻译原则,进而建立明清传奇英译的翻译模式。
通过定性分析和以语料库为基础的定量分析,本文建立了明清传奇的总体翻译原则、各个层面特征的具体翻译原则及同时处理明清传奇不同层面特征的动态翻译原则。另外,本文还在系统、综合分析的基础上建立了明清传奇英译的翻译模式,包括自然主义模式、现实主义模式、印象主义模式和唯美主义模式,本文所选的七个译本分别是这四个翻译模式的典型代表。当然,本文建立的四种模式的正确性和解释力都有待在将来的翻译实践中进行检验,如果这些模式能经受住足够翻译实践的检验,明清传奇的翻译理论便能够最终建立起来。总的来说,本文认为,不论采用哪种翻译模式,只要译文能够实现翻译的交际目的,能够体现明清传奇的基本特征,就是有价值的翻译作品。如果译文能在此前提下最大限度地再现明清传奇的美学特征,就可以称为佳作。正所谓,“淡妆浓抹总相宜”,翻译的艺术追求是永无止境的,明清传奇的翻译世界中永远只有更“浓”的译作,永远没有最“浓”的译作,但即使是最“淡”的译文,它折射到目的语中的也是一抹飞红。明清传奇的英译就是要求在满足“淡妆”的最低标准的基础上不断向着“浓妆”的最高标准前进——“学无止境”,艺术更无止境。
Written by the ancient Chinese literary men, the Chuanqi Drama of the Ming and Qing Dynasties are the fruitful products of the Chinese classical literature as it evolves into a comparatively advanced stage. Being a typical representative of the traditional Chinese culture, they play a very important role in the Chinese literary history as they do possess great literary value. Up till now, the English translation practice of the Chuanqi Drama has been going on for some time, which has already yielded recognizable achievements; however, the theoretical research into the English translation of these drama has been relatively inadequate within the world of translation studies. The chief function of theory lies in its epistemological nature; therefore, this dissertation is committed to acquiring profound knowledge in understanding and interpreting the English translation practice of such drama and to revealing the translation laws involved. Based on descriptive translation studies, it aims at constructing translation principles and translation modes for the English translation of this special kind of drama through text analysis of the source text in general and case studies of seven English translation versions of four plays including The Lute, The Peony Pavilion, The Palace of Eternal Youth and The Peach Blossom Fan.
Scientific and objective research findings should be based on scientific theoretical foundation, in view of which the present dissertation incorporates translationally relevant text analysis, translation corpus, translation shift analysis and translation norms into the theoretical research of the English translation of the Chuanqi Drama, so as to achieve validity for the research findings. Giving emphasis to both qualitative and quantitative analysis and attaching importance to both systematic and synthetic analysis, the research carried out in this dissertation boasts of a combination of six kinds of methodological nature, namely, the descriptive nature, the analytical nature, the comparative nature, the interpretative nature, the evaluative nature and the statistical nature, which work together to ensure that the translation principles and translation modes constructed in the dissertation should be of genuine academic significance. Specifically speaking, the descriptive translation studies adopted in this research start with text analysis of the Chuanqi Drama, which falls into the category of qualitative analysis. Through such analysis, four layers of textual features are extracted, including features in the linguistic layer, the literary layer, the cultural layer and the aesthetic layer, among which the first three layers of features are distributed on different text levels while aesthetic features indeed consist of information that is selected from the other three levels which is able to bring about aesthetic experience. In addition, features from different text levels are always interrelated to each other, constituting an integral identity for the Chuanqi Drama. After identifying the textual features, the translation corpus made up of the selected cases for study is built up and then different annotation schemes are subsequently designed based on the identified textual features. With such annotation schemes, the corpus is accordingly annotated manually at different levels for their textual features and the corresponding translation features. Consequently, useful data are retrieved from the annotated corpus and are later used to make quantitative analysis of the subject under study. Besides quantitative analysis based on the translation corpus, qualitative analysis is carried out as well since it is also necessary for researching translation shifts under certain circumstances. Both qualitative and quantitative analysis is employed with the aim of identifying universal translation strategies, namely the translation norms, and individualized translation strategies adopted by translators when translating specific textual features. The identified translation norms and individualized translation acts are then synthesized and integrated so as to establish translation principles and translation modes for the English translation of the Chuanqi Drama.
Based on the findings obtained from both the qualitative and quantitative analysis, the present dissertation establishes general principles for translating the Chuanqi Drama of the Ming and Qing Dynasties, specific principles for translating each layer of textual features and dynamic principles for simultaneously translating interrelated textual features. In addition, it also constructed four modes for the English translation of the Chuanqi Drama, including the naturalistic mode, the realistic mode, the impressionistic mode and the aesthetic mode, with the seven versions of translation involved in the study as their respective representatives. Naturally, the four translation modes constructed in the dissertation are subject to the testing of future translation practice for their validity and interpretative power. If these modes should survive the testing of adequate translation practice, the theory for the English translation of the Chuanqi Drama of the Ming and Qing Dynasties would be finally established. All in all, no matter which mode a translator adopts, the present dissertation maintains that, any translation is considered as valuable so long as it can achieve its communication aim and reveal the basic character of the drama. Furthermore, if the translation could reproduce their aesthetic features to the utmost extent on such basis, it is naturally regarded as excellent work of translation. Just as the poem goes, the Western Lake is always charming in either light or heavy makeup. The same is true with the translation of the Chuanqi Drama—there is no limit to the pursuit of the art of translation. Hence, in the translation world of these drama, there will always be“heavier”work of translation and there will never be“the heaviest”work of translation; nevertheless, even“the lightest”translation is still qualified to project a ray of redness into the target language. The English translation of the Chuanqi Drama simply requires that the translation can satisfy the lowest standard of“light makeup”and constantly stride forward to the highest standard of“heavy makeup”—there is no limit to study and there is even no limit to artistic pursuit.
引文
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