翻译情感与跨文化阅读

1、翻译情感与跨文化阅读翻译情感与跨文化阅读孙艺风 香港岭南大学Cultural attitude at work There is no doubt that whether or not neutrality is attempted concerns the translational attitude. Yet it is also true that it is no more than an illusion that translation can be done in the true spirit of neutrality. Nevertheless, the translat

2、or is still expected to be pledged to a measure of neutrality to lend an authentic aura to the translated text, or to make it somehow appear to be a reliable representation of the original. Sherry Simon asserts that “to be sensitive to the gendered aspects of language use is to understand the subjec

3、tivity expressed in any act of rewriting. Translation can never be a neutral act of repetition: mediation involves transmission but also displacement” (Simon 1999: 66). The role of the translator as a supposedly neutral conduit of language seems at odds with the genuine need to help, by means of med

4、iation, the target reader understand the cultural meaning of emotions. For instance, there are some specific cultural situations in which the target reader has no means of choosing between the ironic and the empathetic attitude unless some guidance or assistance is provided by the translator, which

5、shows the importance of the agency of the translator. It is worth pointing out that the so-called inherent cultural prejudice can also be a personal prejudice, both of them capable of twisting the original replication of reality as in the source text, and of engendering cultural misunderstanding, mi

6、splaced resentment or admiration, reasonable disagreement, and unreasonable dread. The interaction between different cultural feelings aroused by reading the source and target texts is of great relevance to the emotional experience of cross-cultural encounter. This experience may appear to be precar

7、ious in the absence of sincerity, which, needless to say, gives the air of trustworthiness and reliability of translation and is shown as respect for cultural difference and foreign otherness.Feelings to be experienced translators are human beings, with opinions, attitudes, beliefs, and feelings. Tr

8、anslators who are regularly required to translate texts that they find abhorrent may be able to suppress their revulsion for a few weeks, or months, possibly even years; but they will not be able to continue suppressing those negative feelings forever. (2003: 26) if you are sensitive to the feelings

9、 of other people and other groups, you will not deliberately use language that offends them, or blithely impose your assumptions of what they must mean on their words; again, therefore, to do your job well you will go ahead and make it harder. (2003: 193) “Diana had a voice toned, to my ear, like th

10、e cooing of a dove.” Diana Rivers is Janes cousin, and also her friend and role model. Thus “the cooing of a dove” must be a pleasant sound. The three extant translation versions treat this sentence differently. Version A: 黛安娜的声调在我听来像鸽子的咕咕声 is perfectly faithful, and there is no need for back transl

11、ation. Version B: 黛安娜说话在我听来就像鸽子发出柔和的咕咕声 is more or less the same as Version A except the added “柔和” (soft) to make sure that the cooing sound is not unpleasantly loud. Version C: 黛安娜的声音, 在我听来, 就象鸽子的咕咕声一样悦耳rendered by a female translator, also contains an extra word, meaning in Chinese “pleasant to t

12、he ear”. 我爱热闹, 也爱冷静; 爱群居, 也爱独处。像今晚上, 一个人在这苍茫的月下, 什么都可以想, 什么都可以不想, 便觉是个自由的人。白天里一定要做的事, 一定要说的话, 现在都可以不理。这是独处的妙处: 我且受用这无边的荷塘月色好了。 Version A: I like both excitement and stillness, under the full moon, I could think of whatever I pleased or of nothing at all, and that gave me a sense of freedom. All dayt

13、ime duties could be disregarded. That was the advantage of solitude: I could savour to the full that expanse of fragrant lotus and the moonlight. Version B: I like a serene and peaceful life, as much as a busy and active one; I like being in solitude, as much as in company. As it is tonight, basking

14、 in a misty moonshine all by myself, I feel I am a free man, free to think of anything, or of nothing. All that one is obliged to do, or to say, in the daytime, can be very well cast aside now. That is the beauty of being alone. For the moment, just let me indulge in this profusion of moonlight and

15、lotus fragrance. “Its the bourgeoisies fall and the victory of the proletariat are equally inevitable.” This makes a grand rhetorical gesture, encompassing all human injustice to be eliminated. Ideologically driven, its Chinese translation employs the elevated rhetoric of political will. While the b

16、asic rhetoric structure is not difficult to retain in Chinese translation, the word “fall” is rendered into “灭亡”, meaning death or demise. Its immediate context warrants this translation for the previous sentence mentions “grave-diggers”. 对可读性的期待，使改写进一步合法化。改写的英文rewrite，既有重写，也有改写之意。改写自然有改动的含义。改写的动因自有

17、不同，直接间接、内在外在、主观客观、有意识无意识，令人莫衷一是。文学翻译越来越体现出跨文化的交际性特质，而跨文化交际则对认识文化差异和纠正对文化差异的边缘化具有重要作用。翻译中许多微妙的语义变化源于根深蒂固的文化倾向性。文学翻译试图把两种文化的阅读体验有机联系起来，这种尝试能有效加强文化间的相互关系，促进对文化差异性的尊重。 文化移位对文学翻译来说是一项巨大的挑战，其中势必涉及到改写。以介入为特征，其强大的颠覆力和改造力往往被低估。介入诗学（poetics of intervention）研究词语的意义如何产生，文学翻译把这些词语挪用到全新的、不同的和经过再创作的语境中，进行带有移情性质的改写

18、，并且通过保留文化交流中的各种语域，把互动式的阅读体验融合到翻译中，使读者得以畅游于原文和经过再创作的文学文本中。过于贴近原文无益，译者与原作要有意识地拉开一段距离，不要循规蹈矩, 亦步亦趋，以减少原作语言和文化对翻译的干扰。 虽然翻译不同于顺应，可是改写仍然意味着改动和转变原文，是一个在翻译中增加和删减的调解过程。翻译时常表明源语文本和译入语文本中存在相似之处的可能性。翻译不断为创作和复制这对矛盾注入新鲜的活力和紧张的气氛。改写可以是一种模仿而不是操纵，尽管这样可能产生韦努蒂所说的“拙劣模仿的”效果（Venuti 1998: 64），而且诗学的模仿也需要校正，因为它可以是对原作的批判表现形式

19、。 在新的历史条件下的跨文化交际语境开启了对不可译的多元认知的途径。不可译其实是基于对于译文难以被接受，或经过译出后，语义或形式出现重大亏损的判断和预测。本质上说，不可译引发的是一种担忧，促使译者采取某种“防范”措施。 表述蹩脚，语义含混、可读性低通常用来形容差劲或力所不逮的翻译作品，而且似乎与原作关系不大，哪怕原作的可读性就很差 人们一般只是怪译者。当然，这一切也都可以归咎于不可译。地道的文化形态给翻译带来的挑战，应该如何面对？翻译时是否也应该相应地用地道的表达方式？倘若是这样，就会引致归化翻译，似乎又与真正意义上的跨文化交际不符。接下来的翻译的沟通行为主要集中在文化、信仰、价值和期待等诸方面彰显的异与同不断交汇与交锋。 文学体验全在于一个文本在译者手里经过怎样的处理，译作的接受凸现了可读性的重要，最终关乎跨文化交际的实