从多元系统理论的视角来看《第二十二条军规》三种中译本

上海海事大学SHANGHAI MARITIME UNIVERSITY硕 士 学 位 论 文MASTERS DISSERTATION论文题目：从多元系统理论的视角来看第二十二条军规三种中译本学位专业：作者姓名：指导教师：完成日期：A Comparative Study of Three Chinese Versions of Catch-22: from the Perspective of Polysystem Theory Acknowledgements Study is rarely one-mans work. There are a number of people that have directly or indirectly contributed to the completion of this thesis. First and foremost, I want to express my sincere gratitude to my supervisor, Mr. Han Zhonghua, for his kind instructions, constructive suggestions and constant encouragement over my two-year study at Shanghai Maritime University. He has generously spent his precious time reading my paper and offered me invaluable advice. His wide knowledge and respectable personality will have an impact on me perpetually.I owe Professor Wang Dawei many thanks. Thanks for his taking my questions seriously and giving me detailed explanations.Im also indebted to all the teachers who have taught me during my two-year study, particularly to the following professors: Zheng Lixin, Mao Junchun, Weng Fengxiang and Yuan Yongfang for their thought-provoking and illuminating lectures.My gratitude also goes to the foreign teacher, Glenn Fieber, who gave systematic instruction for advanced English writing.Finally, I would like to take the opportunity to acknowledge all that make up an essential part of my life. Special thanks go to my parents, my parents-in-law, my husband and my dear little daughter for their unsurpassed support and encouragement, and their warm support and unreserved affection have made possible the accomplishment of this thesis. 摘要多元系统理论是 20 世纪 70 年代西方翻译理论兴起的一个新派别，由以色列学者伊塔马埃文-佐哈尔于 70 年代初首次提出。多元系统理论共有三个版本，分别发表于 1979，1990，1997 年。前两个版本主要针对文学和翻译研究，最后一个则是针对文化研究的。多元系统是指社会内部相互关联的文学及超文学整体结构，即在某一社会里文学及文学以外所有相关的系统的集成，用以解释该文化中的全部书写。这些系统的地位并不平等，有的处于中心，有的处于边缘。但多元系统并不是固定不变的。地位不同的系统，永远在互相争夺中心位置。根据佐哈尔的多元系统理论，传统的翻译理论把系统构想成一个“共时”的关系网，而忽略其“历时”的因素。多元系统理论属于文化翻译理论的一部分，它把翻译和译作与其产生和被阅读的文化语境，社会政治条件等诸多因素结合了起来，为翻译研究开拓了一个相当广阔的研究领域。约瑟夫海勒的成名作第二十二条军规自问世以来,声誉日盛,被西方评论界誉为“六十年代最好的一部小说”。由于该小说开创了人们后来称之为“黑色幽默”文学流派的先河, 因此也被公认为是“ 黑色幽默”文学的代表作。这一流派在二十世纪六十年代以一种势不可挡的气势在美国文坛迅速发展, 成了第二次世界大战后美国小说的重要发展动向。此书于 1961 年在美国初次出版时影响并不大，随着越南战争的爆发，美国国内反战情绪高涨，这部小说才引起了广泛的反响。对于上世纪八十年代南文、赵守垠、王德明的译本和九十年代杨恝、程爱民、邹惠玲的译本，我国许多学者运用不同的翻译理论，从不同的角度进行过分析。2007 年 7 月,第三个译本的出版，至今鲜有学者对这三个中译本进行比较研究。本文从佐哈尔 1990 年版本的多元系统理论出发，来分析黑色幽默和第二十二条军规的产生背景及小说内容结构，并对不同时期的中译本进行比较。试图在文学的多元系统背景下，找出小说在不同时代被不同的人翻译的原因及多元系统理论用来解释小说中译本的合理性及局限性。本文的第一章详细介绍了多元系统元理论，分别从以下几方面介绍多元系统理论：理论的起源、定义、背景、内容；多元系统理论和翻译的关系，以及多元系统理论对翻译的影响。第二章从多元系统理论来看黑色幽默和 Catch- 22，论述包括黑色幽默的起源、定义和背景及其和多元系统的关系；从多元系统理论看小说的作者及作品，包括从多元系统理论看小说的内容、结构、语言、写作修辞等方面。第三章是从多元系统理论来看小说的三个中译本，从三个中译本看不同时期译者对译文内容，语言，结构方面的处理，找出三个中译本的相同处及不同处。 关键词：多元系统理论；黑色幽默；第二十二条军规；第二十二条军规中译本 AbstractAs a new rising school of western translational theories in the 1970s, Polysystem Theory was proposed by Israeli scholar Itamar Even-Zohar in the early 1970s. This theory has three editions, published in 1979, 1990 and 1997 separately. The first two editions aim at the study of literature and translation, and the last one aims at the study of culture. It is regarded in the theory that the semiotic phenomena such as the language, literature, economics, and politics and so on should be considered as heterogeneous but interdependent components in a system. This system is a macro-polysystem in which there are many systems with unequal status, some of which occupy the center position and some of which occupy the peripheral position. But polysystem is dynamic, and these systems scramble for the center position forever. According to Polysystem Theory, traditional translation theories consider system as a synchronic net of relations, overlooking the factor of diachrony. Polysystem Theory belongs to one part of cultural translation theory, and it combines translation, translation versions and the cultural and linguistic environment, which exploits a wide research field.Since its appearance, Catch-22, the masterpiece of Joseph Heller, has become more and more famous and is regarded as the best novel in 1960s by the western critics. This novel is the forerunner of so-called “black humor” literature, and it is considered as the masterpiece of “black humor” literature. This school rapidly and irresistibly developed in American literary world, and became the important developing trend of American novels after the Second World War. The so-called “black humor” refers to morbid and absurd humor in seeking fun from brutality. This thesis, from the perspective of Polysystem Theory edited in 1990, analyses the three Chinese versions of Catch-22, as well as black humor and the novel itself, trying to find out the reasons why Catch-22 is translated by different people in the different periods of times and to study the adequacy and acceptability of this theory in comparing the three Chinese versions.This novel had little influence when it was first published in America, but with the surging of antiwar mood, it finally aroused the broad response. Concerning the Chinese versions translated by Nan Wen, Zhao Shouyin and Wang Demin as well as by Yang Jia, Cheng Aimin and Zhou Huilin, many Chinese scholars have analyzed them from different angles and using different translation theories. After the Chinese version translated by Zhang Yonghua in 2007, few scholars have analyzed the three Chinese versions.Chapter one particularly introduces Polysystem Theory from the following aspects: one is the origin and definition of Polysystem Theory; next is its background; then is its content; the last is the relationship between Polysystem Theory and translation, and its influence on translation. Chapter two studies black humor and Catch-22 from the viewpoint of Polysystem Theory, including the origin, definition and background of black humor, and its relationship with Polysystem Theory; the novel and its author, content, structure, language and writing rhetoric and so on from the viewpoint of Polysystem Theory. Chapter three compares the three Chinese versions of this novel from the viewpoint of Polysystem Theory.KEY WORDS: Polysystem Theory; black humor; Catch-22; the three Chinese versions of Catch-22Ding Shanshan (Foreign Linguistics and Applied Linguistics)Directed by Professor Han ZhonghuaContentsIntroduction.10.1 The Aim of This Thesis .10.2 Literature Review.20.3 Method and Structure of This Thesis.2Chapter One Polysystem Theory.41.1 The Initiator: Itamar Even-Zohar.41.2 The Origin & Definition of Polysystem Theory .51.3 Background Information about Polysystem Theory .61.3.1 Historical Background of the Theory.61.3.2 Theoretical Background of the Theory .71.4 The Development of Polysystem Theory in the West .71.5 Studies on Polysystem in China .81.6 Polysystem Theory .91.6.1 System and Polysystem in Modern Functionalism: Statics vs. Dynamics.91.6.2 Items in the Polysystem and Their Relationships .111.6.2.1 Canonized vs. Non-canonized Strata.111.6.2.2 System vs. Repertoire vs. Texts.121.6.2.3 Dynamic Processes in Polysystem.131.7 Application of Polysystem to Translation .141.8 Restriction of Polysystem Theory .18Chapter Two The Study of Black Humor and Catch-22 from the Perspective of Polysystem Theory .212.1 The Definition of Black Humor.212.2 The Formation of Black Humor .222.2.1 The Social Origin of Black Humor .222.2.2 The Philosophical Base of Black Humor.23 2.2.3 Black Humor and Joseph Heller .242.2.4 Polysystem Theory and Black Humor.242.3 The Background of Heller .252.4 The Novel Catch-22 .262.4.1 The Meaning of the Term Catch-22 .272.4.2 The Content of the Novel Catch-22.292.4.3 The Structure of the Novel Catch-22 .302.4.3.1 The structure of the novel Catch-22 and Polysystem.322.4.4 The Linguistic Features of the Novel Catch-22.322.4.4.1 Paradox .332.4.4.2 Ambiguity.372.4.4.3 Repetition .382.4.4.4 Exaggeration.40Chapter Three A Comparative Study of Three Chinese Versions of Catch-22 from the Perspective of Polysystem Theory.413.1 About Three Chinese Versions of Catch-22 from the Perspective of Polysystem Theory .423.2 A Comparative Study of Prefaces to Catch-22 and Its Chinese Versions.433.3 A Comparative Study of the Translation of Some Figures of Speech.443.4 A Comparative Study of the Translation of the Tone .463.5 A Comparative Study of Three Chinese Versions .473.5.1 Translations of Names in Catch-22.473.5.2 The Different Translations of the Term Catch-22 in These Chinese Versions .503.5.3 The Comparison of the Chinese Versions of Catch-22 .533.6 The Rationality and Limitation of Polysystem from the Three Chinese Versions .583.6.1 The Rationality of Polysystem from the Three Chinese Versions.583.6.2 The Limitation of Polysystem from the Three Chinese Versions .60Conclusion.62Bibliography .641 Introduction0.1 The Aim of This ThesisAt present, culture and translation have been in closed relationship, which draws scholars attention to cultural approach of translation studies. Many cultural theories have shown up, one of which is Israeli scholar Even-Zohars Polysytem Theory.Polysystem Theory was first suggested in Zohars works written in the 1970s, then published in Papers in Historical Poetics in 1978, and fully developed in his work Polysytem Studies in 1990. Polysystem Theory regards that the semiotic phenomena such as the language, literature, economics, and politics and so on should be considered as heterogeneous but interdependent components in a system. It emphasizes the view of diachrony, so does the study of translation.Catch-22 is a famous anti-war novel and a masterpiece of black humor novels and in this novel the term Catch-22 means a trap whose fetters one cant escape from no matter how he tried. This novel has an unusual structure which is different from others and breaks up the normal writing structure. From the point of view of Polysystem Theory, in a great system, the appearance of a new model or writing style is normal. Polysystem Theory is also used in translation and Even-Zohar outlines translated literature would maintain a primary position when a “young” literature is being established or a literature is “peripheral” or “weak” or there is a critical turning point in literary history or there is a vacuum in the literature of the country, which is used to explain the appearance of the more Chinese versions of Catch-22 in this thesis.Since there are the first Chinese version of Catch-22 which is published in 1981 and the second Chinese version which is published in 1998, and why there is still the third Chinese version which is published in 2007? This thesis aims at finding the reason why there are different Chinese versions of Catch-22 in different times. There are nearly twenty years between the publication of the first version and the second version. During the past twenty years, China has undergone the world-shaking 2 changes in economy, culture, and politics and so on, so in order to accord with this change and nowadays readers language, the second and the third versions are published, which fits in with the dynamic theory of polysystem. 0.2 Literature ReviewCatch-22 is a famous black humor novel. It has been translated into many languages and read by a great many people all over the world. In china, Catch-22 was translated in different times. There are three versions translated by Nan Wen and his co-translators, Yang Jia and his co-translators and Zhang Yonghua. There are many scholars who gave the studies about Catch-22 and black humor. And many Chinese versions of other foreign novels are studied, for example, Comparative Study between Two Translations of David Copperfield under Polysystem Theory written by Shi Shu; Analysis of Different Translated Versions of Jane Eyre from Polysystem Theory written by Sun Weiwei. Few comparative studies of Chinese versions are given, especially from the perspective of Polysystem Theory. We can only find the thesis, The Study of Polysystem Based on Two Chinese Versions of Catch-22, which is written by Ma Yajing and Shan Yizhen and published in Journal of Hebei Polytechnic University. This thesis briefly analyzes the rationality and limitations of Polysystem Theory based on two Chinese versions of Catch-22 from the perspective of this theory(马亚静，单亦祯， 2007). So it is necessary to give a comparative study of the three Chinese versions of Catch-22 from the perspective of Polysystem Theory.0.3 Method and Structure of the ThesisThis thesis mainly gives a comparative study about the three Chinese versions of Catch-22 from the perspective of Polysystem Theory trying to find the reason why there are different versions in different times. This thesis follows an order of “theory-analysis-conclusion”, is composed of three chapters. Chapter one, “Polysystem Theory”, gives a detailed explanation of this theory as well as the limitation of this 3 theory. In this chapter, its origin and definition, background information, and its development and application are all studied. Chapter two focuses on the study of Catch-22 and black humor from the perspective of Polysystem Theory. In this chapter, the definition, formation, social origin and the philosophical base of black humor and the content, structure and the linguistic features of the novel Catch-22 are also analyzed. Chapter three gives a comparative study of three Chinese versions of Catch-22 from the perspective of Polysystem Theory. In this thesis, the translation of the figure of speech, the translation of the tone, the different versions about prefaces to Catch-22 and translations of names are studied in detail. The last part is the conclusion of this thesis which gives the reason why there are different versions in different times.Chapter One Polysystem Theory4 1.1 The Initiator: Itamar Even-ZoharItamar Even-Zohar, the initiator of polysystem theory, was born in Tel Aviv, Israel on March 23, 1939. After two years military service, he started his long-term college education and academic research in 1961. He spent the first three years studying philosophy and Hebrew (mother tongue) in Jerusalem and majoring in Comparative Literature, and won his M.A. degree there in 1967. He spent quite a few years on studies abroad in Paris (1958), Norway (1966-1967), and Denmark (1967-1968) and finally completed his college study by winning his PhD. degree in Tel Aviv University in 1972 (邹命贵，2005). He has also studied in Oslo, Copenhagen, and Stockholm.He has profound knowledge during those ten years study. As a multi-lingual speaker, he knew the following languages: Hebrew, Arabic, English, Swedish, Spanish, Norwegian, Danish, Italian, Russian, German, Icelandic, and a few other languages, and he has ever stayed, for short or long periods, as a guest professor or scholar in a number of universities in different countries. His research field is also very broad and inter-disciplinary, overlapping comparative literature, linguistics and translation theory. Now he is still a full professor of Poetics and Comparative Literature and Culture Research, an incumbent, Shirley and Leslie Porter Chair Professor of Semiotics and Literary Theory, the chairperson of Unit for Culture Graduate Program in Culture Research