論文學(xué)翻譯中的創(chuàng)造性叛逆

論文學(xué)翻譯中的創(chuàng)造性叛逆一、綜述國(guó)內(nèi)外對(duì)本課題的研究動(dòng)態(tài)，說(shuō)明選題的依據(jù)和意義：“創(chuàng)造性叛逆”這一術(shù)語(yǔ)是由法國(guó)文學(xué)社會(huì)學(xué)家RobertEscarpit提出的。他認(rèn)為：“翻譯總是一種創(chuàng)造性叛逆?！闭f(shuō)翻譯是叛逆，那是因?yàn)樗炎髌分糜谝粋€(gè)完全沒(méi)有預(yù)料到的參照系統(tǒng)里；說(shuō)翻譯是創(chuàng)造性的，那是因?yàn)樗x予作品一個(gè)嶄新的面貌。此前，法國(guó)文學(xué)家瓦萊里用“創(chuàng)造性誤解”一詞指出過(guò)這種想象，“允許對(duì)作品作千種解釋”。更甚的是早在1917年，文學(xué)史家朗松就在“在法國(guó)文學(xué)發(fā)展中的外國(guó)的影響作用”一文里提出“重要的不是原模原樣地照搬外國(guó)文學(xué)及其思想，而只是汲取于我們有用之處。至于我們對(duì)外國(guó)文學(xué)的理解正確與否，這無(wú)關(guān)緊要”。將創(chuàng)造性叛逆的命題介紹到中國(guó)的是謝天振教授于1992年撰寫(xiě)的《論文學(xué)翻譯的創(chuàng)造性叛逆》。在2000年出版的《譯介學(xué)》中，他進(jìn)一步闡述了文學(xué)翻譯中的創(chuàng)造性叛逆，明確提出創(chuàng)造性“表明了譯者以自己的藝術(shù)創(chuàng)造才能去接近和再現(xiàn)原作的一種主觀努力”；叛逆性反映了“在翻譯過(guò)程中譯者為了達(dá)到某一主觀愿望而造成的一種譯作對(duì)原作的客觀背離”。本文根據(jù)謝天振在《譯介學(xué)》里提出的創(chuàng)造性叛逆這一命題，分析創(chuàng)造性叛逆與文學(xué)翻譯的關(guān)系。從符號(hào)學(xué)，文化語(yǔ)言以及譯者的主體性這三方面闡述文學(xué)翻譯中創(chuàng)造性叛逆的不可避免性。正確理解了創(chuàng)造性叛逆，譯者就能在充分發(fā)揮主體性因素的同時(shí)把握創(chuàng)造性叛逆的限度，以便在最大范圍內(nèi)達(dá)到翻譯目的并取得良好的文學(xué)，文化及社會(huì)效應(yīng)。二、研究的基本內(nèi)容，擬解決的主要問(wèn)題：本文從文學(xué)翻譯的定義和過(guò)程解釋文學(xué)翻譯中的創(chuàng)造性，擬對(duì)創(chuàng)造性叛逆這一現(xiàn)象進(jìn)行探討。從符號(hào)學(xué)和文化差異這兩方面分析創(chuàng)造性叛逆的不可避免性。根據(jù)相關(guān)學(xué)者在這一命題上的研究，結(jié)合各種題材的文學(xué)翻譯的實(shí)例，分析創(chuàng)造性叛逆四種類(lèi)型的正反面作用。通過(guò)對(duì)比忠實(shí)和主體性，論述譯者要如何把握創(chuàng)造性叛逆的限度。AbstractTheterm“creativetreason”wasfirstcoinedbyRobertEscarpit,theFrenchsociologist,whostatesthattranslationisalwaysakindofcreativetreason.Theprocessofliterarytranslatingiscomplicatedanditcanbeclassifiedintotwosteps:comprehendingandexpressing.Thesetwoprocessesarecreative,whichdeterminetheunavoidabilityofcreativetreason.Thisthesiswilldiscussunavoidabilityfromtwoangles:semiologyandculturaldifferences.CreativetreasonisclassifiedintofourcategoriesbyProfessorXieTianzhen:individualizedtranslation,mistranslation,omission,andtranslationediting.Individualizedtranslationincludesdomesticationandforeignization;mistranslationconsistsofunconsciousmistranslationandconsciousmistranslation;translationediting,tosomeextent,isakindofomission.Faithfulnessisthefirstprinciplethatthetranslatorhastoconsider;however,creativetreasonisaconsciousconductmadebytranslatortoachievespecificgoalseitherforbeingfaithfultotheoriginalorforsatisfyingthetargetreader.Accordingtotheexamples,theauthorwillillustratethesecontradictionsandconcludethemethodstocontrolthelimitofcreativetreason.“創(chuàng)造性叛逆”這一術(shù)語(yǔ)是由法國(guó)文學(xué)社會(huì)學(xué)家羅伯特?埃斯卡爾皮提出的。他認(rèn)為：“翻譯總是一種創(chuàng)造性叛逆?！蔽膶W(xué)翻譯的過(guò)程分為理解和表達(dá)兩個(gè)過(guò)程,這兩個(gè)過(guò)程都是創(chuàng)造性叛逆的。這決定了創(chuàng)造性叛逆的不可避免性。本文從符號(hào)學(xué)和文化差異這兩個(gè)角度闡述文學(xué)翻譯中創(chuàng)造性叛逆的不可避免性。在此基礎(chǔ)上介紹創(chuàng)造性叛逆的種類(lèi)：個(gè)性化翻譯，誤譯，節(jié)譯以及編譯。個(gè)性化翻譯又分為歸化和異化；誤譯分為有意識(shí)誤譯和無(wú)意識(shí)誤譯；編譯在某種程度上也是一種節(jié)譯。忠實(shí)是譯者在翻譯文學(xué)作品時(shí)第一個(gè)必須要考慮的原則，而創(chuàng)造性叛逆是譯者為了達(dá)到忠實(shí)于原文和滿足讀者的需求的目的而采取的有意識(shí)的翻譯手法。本文將根據(jù)所舉的例子來(lái)分析忠實(shí)和叛逆的矛盾，并進(jìn)一步闡述譯者要如何把握創(chuàng)造性叛逆的限度。ContentsIntroduction...................................................11LiteraryTranslationandCreativeTreason...................21.1DefinitionofLiteraryTranslation............21.2OriginandDefinitionofCreativeTreason......................22UnavoidabilityofCreativeTreasoninLiteraryTranslation....32.1UnavoidabilityfromtheAngleofSemiology............32.2UnavoidabilityfromtheAngleofCulturalDifference.......53CategoriesofCreativeTreasoninLiteraryTranslation....73.1IndividualizedTranslation...............................................83.2Mistranslation.................................................103.3Omission...................................................123.4TranslationEditing..................................……….144TheLimitofCreativeTreasoninLiteraryTranslation...........154.1FaithfulnessinLiteraryTranslation............................154.2HowtoBalancebetweenFaithfulnessandCreativeTreason..16Conclusion..............................................................................18IntroductionLiterarytranslationisaprocessinwhichanotherlanguageisemployedtotransmittheartisticconceptionoftheoriginaltext，sothatthetargetreadercanenjoythesamesenseofbeautyandbeinspiredandmovedaswell.Traditionaltranslationtheoryemphasizedonfaithfulnessanditwasbelievedthatfaithfulnesswasthemostimportantprincipleinliterarytranslation.However,in1917,theFrenchlitterateur,Lanson,pointedoutthat“Whatthetranslatorshoulddoistojustretainwhatisimportanttous,ratherthancopyforeignliteratureandthoughtscompletely.Whetherthetranslator’sunderstandingofforeignliteratureiscorrectorwrongisinsignificant”(qtd.in黃四宏105).Later,“creativetreasonwasproposedbyRobertEscapit,whoindicatedthat“Literarytranslationisalwaysakindofcreativetreason”(王華美，于沛128).Theauthorofthisthesisholdstheviewthatcreativetreasonisunavoidableinliterarytranslationandthetranslatorcanbeagoodtranslatorifhecontrolsthelimitofcreativetreason.Inthefirstpartofthisthesis,theauthorwillgiveabriefintroductiontoliterarytranslationandcreativetreason.Secondly,thisthesiswilldiscusstheunavoidabilityfromtwoangles:Semiologyandculturaldifferences.FromtheangleofSemiology,thereisnoabsolutecorrespondentvocabulariesbetweendifferentlanguages;besides,fromtheangleofculturaldifference,differentculturalconcepts,values,attitudes,andreligionscontributetotheunavoidabilityofcreativetreason.Inthethirdpart,fourcategoriesofcreativetreasonappliedinliterarytranslationwillbeintroduced:individualizedtranslation,mistranslation,omission,andtranslationediting.Individualizedtranslationincludesdomesticationandforeignization;mistranslationconsistsinunconsciousmistranslationandconsciousmistranslation;translationediting,tosomeextent,isakindofomission.Basedonthefourcategories,inthelastpart,theauthorwilldiscusstherelationshipbetweenfaithfulnessandcreativetreasonandexpoundhowthetranslatorshoulddealwiththeseoppositessothathecanbeagoodtranslator.1LiteraryTranslationandCreativeTreason1.1DefinitionofLiteraryTranslationLiterarytranslation,opposedtoscientifictranslation,requiresthetranslatortounderstandthemeaninghiddeninthetextandtopresentittothereader.AsChinesetranslationtheoristZhangJinpointedoutthattheprocessofliterarytranslatingiscomplicatedanditcanbeclassifiedintotwosteps:comprehendingandexpressing(14).Comprehendingprocessissubjective,becausethetranslator,asthereaderoforiginaltext,whohashisownpersonalexperience,cultureandhistoricbackground,wouldhavedifferentperceptionsfromeachother.Andthesecondstepisalsocreative.Asthesourcelanguageandtextlanguagehavedifferentlanguagesystemsandwordsoftwolanguagesarenotequivalent,agoodtranslatorwouldputhisownfeelingintothetranslatingratherthantranslatetheSLtextinamechanicalway.1.2OriginandDefinitionofCreativeTreasonCreativetreasonwasfirstcoinedbyRobertEscarpit,theFrenchsociologist.Hestatesthattranslationisalwaysakindofcreativetreason(王華美，于沛128).ProfessorXieTianzhenalsopointedoutinMedia-translatology:LiterarytranslationisconsideredasatreasonbecausetheSLtextplacesusinatotallyunexpectedlanguagereferencesystem;literarytranslationiscreativesinceitgivestheSLtextanentirelynewlook,andprovidesanewliterarycommunicationwiththereaderandgivethesourcetextnewlife(140).Creativetreasonisaconsciousconductmadebythetranslatorwhoemploysspecificmeanstoachievespecificgoalseitherforbeingfaithfultotheoriginalorforsatisfyingthetargetreader.Inliterarytranslation,whethertheTLtextissuperiororinferiortotheSLtextdependsoncreativityandtreasonthesetwoelements.Itistruethatitiscreativetreasonthatmakesliteraryworksbetransmittedandbereceivedacrosstimeandacrossgeographyspaces.Prof.Xieputsforwardthetwoelementsinliterarytranslation:creativityandtreason.Creativityinliterarytranslationsuggestsobjectivebetrayforrealizingacertainsubjectiveexpectation.But,inthepracticeoftranslation,thesetwoaspectsareanorganismandinseparable.ChineseliteraturemasterGuoMoruooncesaid:“Translatingisacreativejob.Goodtranslationisequaltocreation,anditevengoesbeyondcreation.Translatingisnotamediocrejob,sometimes,itisevenmoredifficultthancreating”(謝天振134).AndreLefevereandBassnettpointedoutthattranslatingis,ofcourse,arewritingofanoriginaltext(BassnettandLefevere25).Itisclearthatcreativityinliterarytranslationisinevitable.Inthefollowingchapter,theautherwillfocusonunavoidabilityofcreativetreasoninliterarytranslation.2UnavoidabilityofCreativeTreasoninLiteraryTranslationFromthepointofviewoftheprocessesofliterarytranslation,literarytranslationiscreative;fromthepointofviewofthetranslator,literarytranslationisanconductofbetraying.Next,I’llillustratetheunavoidabilityofcreativetreasonfromtwoangles:Semiologyandculturaldifferences.2.1UnavoidabilityfromtheAngleofSemiologySemiologyplaysanimportantroleinthehistoryofhumanideology.SwisslinguistFerdinanddeSaussureinhisCourseinGeneralLinguistics,writtenin1916,indicated:Itispossibletoconceiveofasciencewhichstudiestheroleofsignsaspartofsociallife.Itwouldformpartofsocialpsychology,andhenceofgeneralpsychology,weshallcallitsemiology.Iwouldinvestigatethenatureofsignsandthelawsgoverningthem.Sinceitdoesnotyetexist,onecannotsayforcertainthatitwillexist.Butithasarighttoexist,aplacereadyforitinadvance.Linguisticsisonlyonebranchofthisgeneralscience(16)Inhistheory,languageisasignsystemwhichexpresseshuman’sthoughts.Everysignisthecombinationofsignifiedandsignifierandtherelationbetweenthemisarbitrary.Heconfirmedthatthepurposeoflinguisticresearchistostudytherelationbetweenthesigns.Healsopointedoutthatlanguageisthemostimportantofallthesystemsofsigns.InSaussure’opinion,signifiedandsignifierarethetwopointsconnectedbythepsychologicalassociativebond.Afterwards,OdgenandRichardsproposedthetrigonometricrelationbetweensigns,objectsandmeanings.Whetherinthe“twopoints”theoryofSaussureorinthe“trigonometricrelation”,human’spsychologicalmovementbetweenthesignifiedandsignifierisnecessarytofinishtheprocessofcognition.Therefore,owningtothedifferentcognition,thedifferenttranslatorsofdifferentculturebackgroundwouldchoosethedifferentlanguagesigns–differentvocabularies.AccordingtothestudiesofmodernSemantics,thereisnoabsolutecorrespondenceofsemanticfieldsbetweenvocabulariesofthedifferentlanguages;thesemanticdistributionsofwordsindifferentlanguagesarealsonotequivalentcompletely.Eugene.A.Nidaalsopointedout:Infact,theculturediscrepancyismorecomplicatedthanthedifferenceoflanguagestructures.Itisimpossibletotranslatewithabsoluteequivalence.Inotherwords,thetranslatorshouldpursuetheapproximationofthetwolanguagesratherthantheequivalencyinthetranslationastheequivalencyinthemathematics(Nida,161).Theunavoidabilityofcreativetreasonisdeterminedbythenatureofliterarytranslation.RolandBarthandsomeotherlinguistsholdthatsomesemioticsystemsarebuiltuponothers.Literaturesignisbasedonthelanguage,soifweregardlanguageasthefirstsemioticsystem,thenliteraturesignisthesecondsemioticsystem(王桂蓮51).Literaturesignisanartoflanguage,thecontentofwhichisfarmorethanwhatthelanguagesigninthecommonsituationtransmits.Letusseethefollowingexamples:E.g.(1)Theoriginal:上梁不正下梁歪Translation:(a).Iftheupperbeamsisnotstraight,theloweroneswouldgoaslant.(thefirstsemioticsystem)(b).Ifaleadersetsabadexample,hissubordinateswillsoonfollow.(thesecondsemioticsystem)(2)Theoriginal:千里之堤,潰于蟻穴Translation:(a)Asoliddykemaycollapsebecauseofanantholeinit.(thefirstsemioticsystem)(b)Aslightnegligencemayresultingreatdisaster.(thesecondsemioticsystem).Thefirstsemioticsystemistheliteraltranslation,whichisthebasisofthesecondone.While,thesecondoneisthelevelthetranslatormustachieve,asthenatureofliterarytranslationisthemoralthesecondsemioticsystemtransmits.Therefore,thetranslatorhastodigthecorrectconnotativemeaningofSL,whichisthecontentofthesecondsemioticsystem.ThatthedifferenttranslatorshavedifferentlanguageknowledgeinevitablyresultsthedifferentunderstandingsbasedonSL.Andinthissense,everytranslationtextofliteraryworkistherecreationoftranslators,andcreativetreasoninevitablyhappensintheprocessofliterarytranslation.2.2UnavoidabilityfromtheAngleofCulturalDifferenceLiterarytranslationisakindofartpracticeaswellascross-culturalactivity.Onepurposeofcross-cultureactivityistoenhanceunderstandingbetweendifferentcultures,whichrequiresustoreflecttheparticularnormsandcustomsoftheSLconveyed.Ifweignoretheaestheticscontentandculturaldifference,misunderstandingwillariseupeventually(郭建中56).Literaryworkcondensesabundantculturalcontent,whichcontainsitsownspecialartisticconception.Differentartisticconceptionssuggestdifferentvalues,psychologicalstructures,religiouscustoms,andhistoricalandgeographicfeatures(王春艷340),whichrequiresthetranslatorstopossessdeepunderstandingoftheforeignculture.NextI’lldiscussthethreemajorculturaldifferencesbetweenChineseandEnglish.Firstly,therearedifferentculturalconceptsofthesamevocabulary.Chinesepeopleusuallyuse“肝腸寸斷”,“愁腸百結(jié)”toexpressextremesadnessandgrief,whichisshockingtothewesternreaders.Inaddition,inChina,moonrepresentsgettingtogetherandmakespeoplehomesick,whileinwesterncountriespeopleneverhavesuchfeelingwhenlookingatthemoon.Secondly,therearedifferentvaluesanddifferentattitudesbetweenChineseandEnglish.Individualismisacrucialvalueofwesterners.Theyattachmuchimportancetoindependence,andalsoadvocatetheimportanceofcompetition,personalhard-workingandpersonalsuccess.Whileintheorientalcountries,collectiveinterestsurpassesself-interest.Extremeindividualismisconsideredasafault,andtheeasternerpeoplefocusontheharmonybetweenmembersofthecollectiveratherthancompetition.Concerningtitleandinterpersonalrelationship,thereisalsosharpdifference.Owningtothefeudaltradition,titlesbetweenmanandwoman,elderandyoung,masterandservantareestablishedbyusageinancienttime,suchas“鄙人”(myhumbleself),“拙荊”“賤內(nèi)”(myhumblewife)and“拙見(jiàn)”(myhumbleopinion).ThesewordsarerichinparticularfeaturesofChineseculture,whichinevitablyresultinculturaldefaultwhenwetranslatethemintoEnglish.However,inwesterncountries,peopleattachimportancetoequalityandindividualism.Therelationshipbetweenrelativesismoreloosingandtheycantitleothers’namesstraightly.Therearenocorrespondentwordsto“長(zhǎng)輩”,“平輩”,“晚輩”,“老前輩”inEnglish.Thirdly,therearedifferencesinreligion.ChinesepeoplehavebeenaffectedbyTaoismandBuddhism.Chineseidiomslike“人要衣裝,佛要金裝”,“泥菩薩過(guò)河,自身難?！県avestrongfeatureofChinesereligion.AndsomewordsinTaoismlike“陰陽(yáng)””八卦”havenocorrespondentwordsinEnglish.Onthecontrary,Englishidiomsandexpressionsusuallyhavethefeatureofreligion,especiallyChristianity(王春艷342).Therefore,translatorsarerequiredtoknowabouttheculturalconceptiontheSLconveys,whichisthebasisofrenderingthecontentofthecultureaccurately.However,knowingaboutculturaldifferenceisnotenoughtorendertheculturecorrectly.Toapplycreativetreasoninliterarytranslationisalsonecessary.Itisimpossibleforthetranslatortotransmittheculturalconceptiontothereaderbyliteraltranslating,asthereadersarenotawareofculturalcontentandcannotexcavateculturalconceptionfromit.“……thelanguageusedbythemembersofaspeciallyappointedculturalsystem.Althoughforeignercanusethelanguage,hecannotunderstandtheshadowmeaningwithintheculturallanguage(孫藝風(fēng)242).Thetranslatorcannotunderstandit,letalonethereader.Inthissense,translatorsaretoapplysomemethodsinordertorendertheculturesuccessfullyandremovethereader’sunderstandingobstacle.Andthedomesticationandforeignizationarethemajorstrategiesofcreativetreasonappliedinliterarytranslationtoshortenthedis