文化语境中的林纾翻译研究
2012-10
浙江工商大学出版社
高万隆
259
382000
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This book is one of the research results of
Humanities and Social Science Projects of the Ministry of
Education, China. It focuses on Lin Shu's translations in the
cultural context of China. An investigation of Lin Shu's
translation activities in the special cultural context will
contribute to our right understanding of their significance and
contributions. The target-oriented translation theory, the
culture-oriented translation theory and the reader's reception
criticism are used to elucidate Lin Shu's translation
phenomenon.
高万隆，浙江工商大学人文与传播学院院长、教授、博士。曾在英国、澳大利亚和新西兰留学和工作多年。先后在山东师范大学、英国爱丁堡大学、澳大利亚格里菲斯大学、台州学院和浙江工商大学任教，教授外国文学、比较文学、汉英翻译等课程。主要从事外国文学和文学翻译研究。在国内外报刊发表大量论文、散文、诗歌、小说等。有《婚恋·女权·小说》、《艾米利·勃朗特研究》、A
Handbook of ChineseCultural
Terms等著作。现任浙江省比较文学与外国丈学学会理事，新西兰内务鄙、新西兰交通部、新西兰翻译家协会资格翻译，新西兰作家协会会员。
Chapter 1 Introduction
1.1 Lin Shu: A Controveial Figure in Chinese Tralation
History
1.2 Significance of the Research on Lin Shu
1.2.1 Need for Reevaluation of Lin Shu's Tralatio
1.2.2 Lin Shu, Father of China's Modern Literary
Tralation
1.2.3 Influence of Lin Shu's Tralatio
1.3 Theoretical and Empirical Contribution of the Study to
Tralation Studies
1.4 Structure of the Work
Chapter 2 Lin Shu's Works Within a
Target-oriented/Culture-oriented Framework
2.1 Target-oriented/Culture-oriented Tralation
Theories
2.l.1 Toury's Target-oriented Tralation Theory
2.1.1.1 Tralato' Main Goals
2.1.1.2 The Role and Function of Tralation
2.l.1.3 Tralation Strategies
2.1.2 Culture-oriented Tralation Studies
2.1.3 Reade' Respoe and Reception Theory
2.2 Cultural Tralation Studies in China
2.2.1 Target-oriented/Culture-oriented Tralation
Approach
2.2.2 Contextual Analysis
2.2.3 Textual Analysis
Chapter 3 Critical Literature Review on Lin Shu
3.1 Chinese Criticism
3.1.1 Affirmation by Lin Shu's Contemporaries
3.1.2 Condemnation During the May Fourth New Culture
Movement .
3.1.3 Assessment After Lin Shu's Death
3.1.3.1 General Reviews
3.1.3.2 Zheng Zhenduo's "Mr Lin Qinnan" ~
3.1.3.3 Han Guang's "Lin Qinnan".
3.1.4 Negative Criticism from 1949 to 1979
3.1.5 Revival: 1980s Onwards
3.1.5.1 Qian Zhongshu's "Lin Shu's Tralatio" ~
3.1.5.2 New Critical Interest
3.2 Western Criticism
3.3 Key Issues in Dispute Concerning the Assessment of Lin
Shu
3.3.1 Lin Shu's Thought: Coervative or Reformist?
3.3.2 A Pioneer or an Opponent of Modern Chinese
Culture?
Chapter 4 Lin Shu in Cultural Context
4.1 Lin Shu's Tralatio in the Cultural Context
4.1.1 Lin Shu's Choice and Respoe
4.1.1.1 In Search of Similarities
4.1.1.2 Literary Subject Matte
4.1.1.3 Literary Genres
4.1.1.4 Literary Style and Technique
4.1.2 Output of Lin Shu's Tralatio
4.1.3 Lin Shu's Tralation Practice
4.1.3.1 Joint Tralation
4.1.3.2 Paraphrase or Free Tralation
4.2 Case Study: Bali Chahuanii Yishi--Trafiguring Chinese
Fiction
4.2.1 Ideological Content
4.2.2 Characterization
4.2.3 Literary Form
Chapter 5 Poetic Equivalence
5.1 Poetic Equivalence and Lin Shu
5.2 Spirit and Style
5.3 Expression in Literary Language
5.4 Sinicization
Chapter 6 Beyond Equivalence
6.1 Adaptation
6.2 Omission
6.2.1 To Overcome "Cultural Default"
6.2.2 Simplification for Succinctness
6.2.3 Treatment of Western Religious Materials
6.3 Addition
6.3.1 To Make up "a Perceived Void" in the Original
Text
6.3.2 To Embellish the Original Text
6.3.3 To Bridge the Cultural Gap
6.4 Alteration
6.4.1 To Heighten the Reade' Impression
6.4.2 To Rewrite the Original Text
6.4.3 Intervention into Tralation
6.5 Abridgement
Chapter 7
An Exemplar of Chinese Literary Tralation
Bibliography
Glossary
List of Lin Shu's Tralated Works
Lin Shu's translatinons of detective fictions include A C Doyle's A Study in Scarlet， M. M. Dodkin's The Quest of Paul Beck and E P Oppenheim's The Secret， and Arthur Morrison's Martin Hewitt. Along with other translators， Lin Shu brought about the popularity of detective fiction in China. In "On the Chinese Translations of English Detective Novels during the Period of the Late Qing and the Early Republic"， Kong Huiyi analyses the reasons for the popularity of detective fiction. She points out that on the one hand， the popularity of detective fiction in China was actually inseparable from the fact that detective fiction was very popular in all parts of the world， and for the intellectuals in the West， detective fiction was a literature of amusement; on the other hand， detective fiction in both content and form struck the Chinese readers as new， "the new science and technology frequently mentioned in the detective novels-train， underground， telegram and so on-all were the things the Chinese people of the 19th century admired. " Therefore， if the objective of translating foreign novels is to fill the gaps in the target culture， this type of fiction naturally attracted the Chinese readers who were assimilating foreign knowledge with great eagerness. Moreover， the logical ways in the Western detective works are similar to the Chinese "fiction of detection"（gong'an xiaoshuo）. Yet in general， the description in the Western detective novel is more subtle and meticulous， and the case is more complicated and， and so more attractive to the Chinese readers. However， Lin Shu's consideration for translating Western detective stories might differ a little from the others. In the preface to his translation of Arthur Morrison's Chronicles o f Martin Heweitt （Shen.shu Guicang Lu ） ， Lin Shu mentioned the importance of detectives to the Western judicial process and emphasised the necessity of introducing Western detectives into China. He argued that "China's judicial system was far inferior to the West's". The main problem was that "no lawyers pleaded for the accused and no detectives looked into the case of the accused"， which led to a number of wrong cases. In his view， "if Western detective stories could be popular in China， it would make the courts at different levels know how to improve the judicial system and make use of lawyers and detectives to decide a case". In addition， he argued that setting up "law schools to train men as qualified lawyers and detectives" would gradually establish a fairer judicial system. If this were true， "the detective stories would have a great achievement to their credit". This seems to show that I，in Shu had interests beyond a detective story itself in Conan Doyle's works. He translated Doyle's seven works of fiction， but only one among them is really a detective story， The others seem to be little related to detective activities. For instance， Beyond the City is related to the issue of women's emancipation， Uncle Bernac is seen as an unauthorized biography of Napoleon， and The White ComPany is a historical novel. In fact， if we carefully examine Lin Shu's choice of the subject matters of the originals， it is not hard to see Lin Shu's likings： It is commonly acknowledged that， as far as the process of detecting a case is concerned， Conan Doyle's short stories are far better than his novels. But Lin Shu translated his novel A Study in Scarlet， and a half of the story is irrelevant to the process of detecting the case. In A Study in Scarlet ， Conan Doyle incorporates a detective story with an adventure story. It is the latter that attracted Lin Shu. Lin Shu's other translations of Conan Doyle's works are adventure fictions or historical fictions. It explains that Lin Shu had definite social purposes in choosing or accepting the original. Lin Shu's introduction of Western adventure fiction filled in the gaps in available Chinese fictions. Among Lin Shu's translated works of adventure fiction， Lubinrun Piaoliu Ji （Robinson Crusoe） was the most popular. It is a story of a man shipwrecked alone on an island. Defoe， employing a first-person narrator， created a realistic frame for the novel. The account of a shipwrecked sailor conveys both the human need for society and the equally powerful impulse for solitude. But it also offered a dream of building a private kingdom， a completely self-made， self-sufficient Utopia. By giving a vivid reality to a theme with large mythical implications， the story has fascinated generations of Western readers. Similarly， after rendered by Lin Shu into Chinese， it has also fascinated generations of the Chinese readers. Why could the hero of the novel have such an appeal to Lin Shu that he decided to translate the work？ In his preface to Lubin_run Piaoliu Ji （Robinson Crusoe）， he gave a clear explanation： Traditional Chinese culture emphasizes the golden mean of Confucianism， and sets it up as a doctrine that a man should adhere to in his whole life. This might have made the Chinese people lack a pioneering and adventurous spirit. Lin Shu attempted to change this by introducing Robinson Crusoe， a hero of adventure. In the preface， he argued the followings. ……
I for one bccame increasingly interested in learning foreign Janguages aftcr rcading Lin's translations… It was not until I came into contact with Lin Shu's translations that I rcalizcd how captivating Western fiction could be. ——Qian Zhongshu Lin Shu, the most prolific and most influential of the late Qing translators, made a deep imprcssion on the Chinese literary world… it forccd them to reevaluatc the status of fiction, and cncourage China's novelists to write, and translators to continue rendering foreign fiction into Chinese. ——Qolezelova Velingerova
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这是研究翻译家林纾的必不可少的资料书。
是不错的英文资料书！