（外国语言学及应用语言学专业论文）改写理论在晚清翻译中的应用——基于林纾的《块肉余生述》.pdf

摘 要 iii 改写理论在晚清翻译中的应用 - 基于林纾的块肉余生述 改写理论在晚清翻译中的应用 - 基于林纾的块肉余生述 作者简介：张洁，女，1977 年 4 月生，师从成都理工大学何大顺教授，2010 年 6 月毕业于 成都理工大学外国语言学与应用语言学专业，获得文学硕士学位。 摘 摘 要要 传统的翻译研究以原文文本为研究对象，注重文本之间的对比和探究翻译标 准。忠实被看作衡量译文优劣的唯一标准。随着二十世纪七十年代描写与系统理 论的出现，翻译研究者开始从文化的视角来研究翻译。文学操控学派的观点扩大 了翻译研究的范围并给其提供了新的方法。 作为文化操控学派的代表人物， 安德烈.勒菲维尔的改写理论是翻译理论研究 中的重要成就之一。他指出，社会是文化系统之上的系统，而文学是其中的子系 统，或系统中的系统，这些系统相互影响，相互作用，改写是确保文学作品生存 的方法之一。他十分强调三个控制要素在翻译过程中的操控作用：在文学系统内 部起作用的是意识形态和诗学，在其外部是赞助人。译者通过对原著的操控，使 之适应目的语中的主流意识形态,诗学形式以及赞助者的需要。 本文以安德烈.勒菲维尔的改写理论为理论依据，以伟大翻译家林纾的译著 块肉余生述为案例，从林纾所处的晚清社会文化背景出发，分析了影响他翻 译策略的文化因素，证明其中大量蓄意的误译是合理而成功的。通过探究林纾在 中国当时社会意识形态，诗学等因素影响下对西方文学进行改写的深层次原因， 笔者希望在翻译研究中，人们能更加关注 “文化” 这一重要元素。 本文由引言，正文（三章）和结论三大部分组成。 首先为引言，介绍了本研究的目的，现状和文章结构。 第一章对翻译研究中关于文化转向研究的理论进行了综述。作者首先介绍了 安德 列弗维尔的改写理论，并解释了三个控制要素意识形态，诗学，赞助人 如何从多方面操控文学翻译。作为改写理论的理论基础，笔者对操控学派中其 他相关的理论也作了简述。 第二章通过详细分析晚清时期的翻译文学，揭示了三个控制因素对文学翻译 的操控。笔者以改写理论为基础，概括了本时期翻译作品的特点。 第三章是案例分析。 作者采用比较的方法， 对林纾的代表译作 块肉余生述 和原著进行了详细分析，探究了林纾的语言特点和他所运用的独特改写策略，例 如：省略，改编，增添以及删减，并得出了以下结论：林纾在翻译过程中明显受 到了与他生活的时代紧密关联的各种文化因素的制约。 成都理工大学硕士论文 iv 最后一部分是结论，其中详细阐述了本研究带来的启示。 关键词: 改写理论 ; 意识形态 ; 诗学; 赞助人 abstract i application of rewriting theory to the translations of late qing dynasty - based on kuai rou yu sheng shu by lin shu introduction of the author: zhang jie, female, was born in april, 1977 whose tutor was professor he dashun. she graduated from chengdu university of technology in english major and was granted the master degree in june, 2010. abstract traditional study on translation has generally been source-oriented, focusing on text comparison and translation criteria. fidelity to the original is usually regarded as the only standard to evaluate the translated texts. as a result of the development of descriptive and system-oriented approaches in translation, which were elaborated in the 1970s, translation has been viewed in a broad cultural context. the emergence of manipulation school widens the scope of translation studies and employs a new methodology for further research. as one of the key figures of manipulation school, andre lefeveres rewriting theory is one of significant achievements of translation studies. he states that society is a super-system, or the environment of a literary system, whereas literature is one of the subsystems, or system of systems. these systems interact with and exert impact on each other. rewriting is one of the means by which the survival of literary works is ensured. he especially puts great emphasis on the role of three control factors in the process of translation：inside the literary system are ideology and poetics, and outside the system is patronage. translators adapt and manipulate the originals to make them fit in with the dominant ideological, poetical current and the need of patrons. the essay is to conduct some research into lin shus kuai rou yu sheng shu from the perspective of lefeveres rewriting theory，aiming at interpreting how cultural context manipulates the process of literary translation in late qing dynasty, including the choice of source texts and translation strategies. in the light of rewriting theory, the thesis puts the great translator-lin shu-into the wider social context and analyzes the factors which influence his translation strategies. through my research, we find 成都理工大学硕士论文 ii that if we compare the original and lin shus translated version of kuai rou yu sheng shu lexically, some parts can be labeled as mistranslations. however, when we put the translation under a broader cultural context, they are translated with good reasons. by exploring the underlying reasons of lin shus rewriting of western literature under the control of chinese social ideology and poetics, the author hopes that more attention should be put to the research of cultural factors in the process of translation studies. the thesis consists of introduction, the main body (three chapters), and conclusion. it begins with the introductory part, stating the present state of the relevant studies in this field and the purpose of my study. the structure of the thesis is also introduced. chapter one is a literature review of the “cultural turn” in translation studies. the author introduces andre lefeveres rewriting theory and explains how three control factors-ideology, poetics and patronage- manipulate on literary translation practice in diverse ways. other relevant theories of manipulation school are also reviewed as the base for rewriting theory. chapter two gives a detailed study on translated literature in late qing dynasty to manifest the fact that three control factors manipulate literary translation to a great extent. characteristics of translated literature in late qing dynasty are explored. chapter three is a case study of deliberate mistranslations of lin shus representative works kuai rou yu sheng shu. by way of a comparative study of the source text and the chinese version as the target text, the author mainly focuses on his linguistic characteristics and unique rewriting strategies, such as omission, adaptation, addition, and abridgement. it is obvious that lin shus translation is manipulated by various closely interrelated cultural constraints in his time. the last part is the conclusion in which the enlightenment of the research is expounded. keywords: rewriting theory; ideology; poetics; patronage 独创性声明 本人声明所呈交的学位论文是本人在导师指导下进行的研究工作及取得的 研究成果。据我所知，除了文中特别加以标注和致谢的地方外，论文中不包含其 他人已经发表或撰写过的研究成果， 也不包含为获得 成都理工大学 或其他教 育机构的学位或证书而使用过的材料。 与我一同工作的人员对本研究所做的任何 贡献均已在论文中作了明确的说明并表示谢意。 学位论文作者签名： 张洁 2010 年 6 月 21 日 学位论文版权使用授权书 本学位论文作者完全了解 成都理工大学 有关保留、 使用学位论文的规定， 有权保留并向国家有关部门或机构送交论文的复印件和磁盘， 允许论文被查阅和 借阅。本人授权 成都理工大学 可以将学位论文的全部或部分内容编入有关数 据库进行检索，可以采用影印、缩印或扫描等复制手段保存、汇编学位论文。 （保密的学位论文在解密后适用本授权书） 学位论文作者签名：张洁 学位论文作者导师签名：何大顺 2010 年 6 月 21 日 introduction 1 application of rewriting theory to the translations of late qing dynasty - based on kuai rou yu sheng shu by lin shu introduction traditional study on translation has generally been source-oriented, focusing on text comparison and translation criteria. the main research approach is to compare the original text and the target text literally. translated works were considered derivative and therefore inferior. in the study of translation, attention has been paid primarily to the fidelity to the original text, without taking into account the context and the influence of the target culture. as a result of the development of descriptive and system-oriented methods in translation, which were elaborated in the 1970s, some scholars such as andre lefevere, susan bassnett and toury exerted great impact on translation circles. they all emphasized the cultural factors in which the target text was produced and paid more attention to the link between translation and politics, social background, economy and even history. in the early 1990s, the “cultural turn” in translation studies was declared by andre lefevere and susan bassnett with a view to study translation from the perspective of culture. in their introduction to the collection of essays translation, history and culture, they urged linguistics-based translators “to abandon their scientific attitude and to move from text as a putative translation unit to cultural momentous step that would go far beyond the move from the words as a unit to the text (susan bassnett 1992:14; bassnet and lefevere, 2001:3) and points out that they serve the needs of ideology and poetics of a given society. in his essays in the 1990s, he repeatedly points out that all translations take place under 成都理工大学硕士论文 10 the constraints of ideological beliefs and poetic norms. translators adapt and manipulate the originals to make them fit in with the dominant ideological, poetical currents and the need of patrons. the practice of translation is influenced and constrained by ideology and poetics; while at the same time translation activities could affect the literature and cultural customs of a certain society. it is not difficult to understand the reason why lefevere highlights the concept of control factors and especially focuses on ideology to serve on ultimate goal - to better investigate the factors which impact on translation, that is, to show how ideological and poetical elements limit literary discourse. 1.2.1 interaction between ideology and the target culture ideology was coined by count detutt de tracy in the late 18th century to define a science of ideas. eagleton once defined ideology as “a set of interrogation of power structures central to a whole form of social and historical life” (eagleton, 1991:116). it is defined in the contemporary chinese dictionary as “mans systematic views on the world and society formed on a certain economic basis. philosophy, politics, art, religion and morality are its concrete manifestations. ideology is a component part of the superstructure, and it has a class character in a class society.” (中国社会科学院语 言研究所词典编辑室, 2002:2279). as a category, ideology is hierarchical and multi-faced. it influences not only the selection and understanding of the source text, but also the expression and reception of the target text. in a society, there are usually several kinds of ideologies instead of just a single ideology, such as ideologies of authorities, of intellectual elite groups, and of common people. sometimes they take the form of systems and regulations, but most of the time they shape the overall climate in more delicate ways. as one of the control factors, the ideology of a translator mainly operates inside the literary system. lefevere adopted the notion and regarded it as “the grillwork of form, convention, and belief which orders our actions”. moreover, it “acts as a constraint on the choice and development of both form and subject matter” (lefevere, 1992:16). ideology determines not only the translation strategies the translator utilizes but his approaches to the problems of source language. although there may be several forms of ideologies in a society, lefevere uses the term mainly in the singular form and in association with patronage, which refers to “ persons, , group of persons, a religious body, a political party , a social class, a chapter 1 literature review 11 royal court, publishers, and last but not least, the media, both newspapers and magazines and larger television corporations, , institutions set up to regulate : academies, censorship bureaus, critical journals, and by far the most important, the educational establishment” (lefevere, 1992:15). it is an indication that his is the ideology of those who have power and impact on discourse. he exemplifies this by the rewriting of anne franks diary, in which several changes were made to the original version in order to avoid causing offence by direct interference of patrons. ideology has always been a central focus in lefevers research. he bears it in mind that literary works are inevitably subject to, either consciously or subconsciously, a prevailing ideology at a certain time in history. ideology which is regarded as reasonable and acceptable in a certain society at a given time will undoubtedly have an enormous effect on individuals. therefore, the translator either willingly embraces or covertly objects to the governing ideology. however, no matter how firmly and excessively he is opposed to the dominant ideology influenced by patrons, there are some ethic standards which he has in common with the masses. in a given society, ethic standard is usually the belief that is accepted by those in power. as is mentioned above, to a great extent, ideology is influenced by translators and patrons-the formers may at times be the same as the latters- but the ideologies of the recipient should not be ignored. the value of rewriting, according to lefeveres theory, is not static but dynamic, depending on different readers ideological and aesthetic standards. since it is unrealistic that the ideology of the readers is just the same as that of the patron and the translators, the receivers illusions play a significant role in deciding the success or failure of a translation. 1.2.2 interaction between poetics and the target culture the word “poetics” derived from the greek philosopher aristotle and was then used within the field of epics and tragedy. in the contemporary chinese dictionary, poetics is defined as “literary or art criticism; analysis and review of the works, creative activities and creative tendency of an author by given aesthetic standards; part of the study of literature and art (中国社会科学院语言研究所词典编辑室, 2002: 2008). as a part of the study of literature and art, poetics defines standards of literature. it is also a chief device for establishing ideas, beliefs, and the content of thinking characteristics of a given society, together with building social norms. from the macro 成都理工大学硕士论文 12 point of view, it is about the essence and function of literature. from the micro point of view, it is about the literary modes, styles, genres, techniques, and aesthetic habits. lefevere regards ideology and poetics as parallel notions though he highlights ideology to a great extent. once he even mentioned that when there is conflict between the two, poetics always gives way to ideology (lefevere, 1992:41). basically, the two factors can be viewed as subordinate and super-ordinate to each other. though greatly highlighting the ideological factor, lefevere never regarded it as the sole factor determining the translators strategy. poetics is the second constraint which guides the direction of a translator. in his view, poetics is the dominant concept of what literature should be, or can be allowed to be, in a given society (lefevere, 1992:14). early in 1985, he put it in his essay that poetics is a code which makes literary communication possible (lefevere, 1985:229). in his rewriting theory, poetics consists of two components: one is an inventory component of the literary-devices, genres, motifs, prototypical characters, situations and symbols; the other is the functional component of the concept of what the role of literature is or should be, in the social system as a whole. therefore, some extra-literary elements -economics, pragmatics and receivers- should be taken into consideration in making any statement on poetics. a translator of literary works is consciously or unconsciously influenced by the poetics of his own culture. he has to adapt the original to make it deemed acceptable to the poetics of the target culture. he has to manipulate the original texts by following or imitating the already widely spread canonized works in conformity with the target ideology or poetics. the inventory component of the poetics of a literary system is not immediately subject to direct influence from the environment, while the functional component is more likely to undergo direct influence from outside the system. and this direct influence tends to find its most obvious expression in the themes of writings and rewritings. obviously, as is pointed out above, the functional component is linked to the ideological influence from the environment of the literary system or the whole social system, thus poetics and ideology would exert strong influence on the selection of themes and types of translation which can better serve the target social and literary system. he also stated that “the functional component of a poetics is obviously closely tied to ideological influences from outside the sphere of the poetics as such, and generated by ideological forces in the environment of the literary system” (lefevere, 1992:27). chapter 1 literature review 13 1.2.3 interaction between patronage and the target culture in 1984, lefevere applied the term “patronage” to refer to “any kind of force that can be influential in encouraging and propagating, but also in discouraging, censoring and destroying works of literature” in that structure in the dialect of man interpreted (lefevere, 1984:92). patronage, according to lefevere, functions outside the literary system. he also argues that “patronage is usually more interested in the ideology of literature than in its poetics” (lefevere, 1992:15). therefore, it seldom directly affects the poetics. patronage consists of three elements that interact in various forms: “the ideological component regulates literary products to make sure that they conform to other systems of society; the economic component guarantees the professionals living and the quality of their products; and last comes the status component that allows the professionals to be incorporated into a certain group or its lifestyle” (ibid:16). the characteristics of patronage come in the following two types: undifferentiated and differentiated. undifferentiated patronage is where the three elements are integrated into one patron. a case in point is the feudal china, in which the emperors and feudal monarch controlled all three facets of patronage. on the other hand, differentiated patronage refers to the time when three components are not dispensed by the same source. in this situation, “the economic success is relatively independent of ideological factors, and does not necessarily bring status with it” (ibid: 17). consequently, undifferentiated patronage is more likely to encourage the publication of translations they prefer. if considered to conflict with the dominant ideology and poetics, the publication of translations will be prevented. the translators have to either choose to follow the ideology and poetics set by patronage or choose to do without patrons support. patronage influences the development of literary system to a great