性别主义视角下《啼笑皆非》林语堂自译与宋碧云他译比较研究

发布时间：2018-06-07 23:44

本文选题：性别主义翻译理论 + 《啼笑皆非》　；参考：《浙江财经大学》2017年硕士论文

【摘要】：自其1943年诞生于二战的炮火中以来,Between Tears and Laughter作为林语堂最具影响力和最富争议的作品之一在西方社会引发了巨大的回响,而其中所涉及的针对国际政局的尖锐批评和对中国在二战期间所遭受的不公平待遇的深刻描写更是使其饱受争议。为了进一步宣传其个人的政治理想并同时唤醒尚处于迷茫困顿中的中国同胞,林语堂亲自翻译了前十一章的内容并邀请时任《西方文学》杂志主编的徐诚斌代为翻译其余章节。1945年,作为台湾最具影响力和最为高产的女性译者宋碧云出于个人喜爱也将原作译成中文。但是,由于作品内容的政治敏感性和林语堂本人在国内文坛长期所处的尴尬境况,这两部中文译作在发行后不久双双陷入争议的泥沼,而针对其所开展的相关研究也长期出于停滞状态。虽然这一窘况在上世纪七十年代后期已逐步得到缓解,但相关研究仍旧寥寥无几,乏善可陈。在这些为数不多的研究中,大多学者仅将目光置于林语堂自译本、林氏翻译美学及其相关话题之上,并未将其中所蕴含的性别特质和政治因素纳入考量。与此同时,针对林语堂自译本和宋碧云他译本的平行对比研究也是少之又少。因而,基于性别主义译论视角的《啼笑皆非》汉译本对比研究大有可为。本文基于性别主义翻译理论,针对Between Tears and Laughter原作及其汉语自译本和他译本展开对比研究,并借助语料库软件从最具代表性的“增补”、“前言脚注”以及“劫持”三个方面试图探究自译作品和他译作品的异同之处。从性别主义译论视角入手,本文将翻译视作阳性译者身份(或男性参与者身份)与阴性译者身份“结合”而生的全新作品,认为翻译作品必然与译者文化水平、生理性别、翻译目的、政治立场和其所处的特定历史社会环境紧密相关。除却自译者和他译者所共有的“雌雄同体”的身份以及翻译过程中自然存在的“译者的阴性占有欲望”,自译者的翻译作品似乎显得更为言简意丰、无所限制,在遣词酌句和作品呈现上更是竭力为其翻译目的服务,极具情感煽动力。而他译作品则因译者所处特定时期政治局势和社会现实影响,在言语表述上略显“异化”,一词一句皆竭力遵循原语惯习,然而在内容筛选上则时刻以“写作计划”为第一导向,力求文意在目的语境中的去政治化再现。相较于自译者对作品的苛求完美,他译者的主观能动性则不可避免地受到周遭政治现实的影响,正因如此,其译作也就自然成为只为某种特定“写作计划”服务的定制品。
[Abstract]:Since its birth in 1943, during the gunfire of World War II, between ears and Laurence, one of Lin Yutang's most influential and controversial works, has generated a huge echo in Western society. The sharp criticism of international politics and the deep description of China's unfair treatment during World War II make it controversial. In order to further promote their personal political ideals and at the same time awaken their fellow Chinese, who are still in a state of confusion, Lin Yutang personally translated the first 11 chapters and invited Xu Chengbin, then editor-in-chief of the magazine, to translate the rest of the chapters. Song Biyun, Taiwan's most influential and prolific female translator, translated the original into Chinese for personal love. However, due to the political sensitivity of the content of the works and the awkward situation Lin Yutang himself has been in the domestic literary world for a long time, both of these two Chinese translations were bogged down in controversy shortly after their publication. The related research on it is also out of stagnation for a long time. Although this dilemma was gradually alleviated in the late 1970s, there are few and few studies. In these few studies, most scholars only focus on the Lin Yutang self-translation, Lin's translation aesthetics and related topics, and does not take into account the gender characteristics and political factors involved. At the same time, there are few parallel contrastive studies on Lin Yutang and Song Biyun. Therefore, the contrastive study of the Chinese translation of "ironic" from the perspective of sexist translation theory is promising. Based on the theory of sexist translation, this paper makes a comparative study of the original Chinese version of Between years and daughter and its Chinese self-translation and his translation, and makes use of the corpus software to study the most representative "supplement". The foreword footnote and hijack attempt to explore the similarities and differences between the self-translated works and his translated works. From the perspective of sexist translation theory, this paper regards translation as a new work which is produced by the combination of positive translator identity (or male participant identity) and negative translator identity, and holds that translation works must be related to the translator's cultural level and physiological gender. Translation purpose, political position and its specific historical and social environment are closely related. Apart from the "androgynous" identity shared by the translator and his translator, and the natural "negative desire of the translator" in the process of translation, it seems that the translation works of the self-translator seem to be more concise and unlimited. In the selection of words and the presentation of works is to serve its translation purposes, emotional incitement. However, because of the political situation and social reality in the translator's particular period of time, his translation works are slightly "dissimilated" in terms of speech expression, and every word tries its best to follow the idiom of the source language. However, in the selection of content, the "writing plan" is always taken as the first direction, and the depoliticized reproduction of the meaning in the context of purpose is sought. Compared with the self-imposed perfection of the work, the subjective initiative of his translator is inevitably influenced by the political reality around him. Therefore, his translation naturally becomes a definite product which serves only a certain "writing plan".
【学位授予单位】：浙江财经大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：H315.9;I046

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