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译本的副文本是读者解读该译本翻译思想或翻译倾向的重要依据。1930年公开出版的《<雅歌>吴曙天译本》附有胡适题字、旁白、插图和4篇研究性论文等副文本。通过对这些副文本进行分析,可以发现吴曙天认同其附录文章中的《雅歌》文学文本观。而作为旁白插入的潜台词和动作文本,使译本具有动态感和表演性。其基于女性经验的重译,突出了“女主角/男配角”模式,使《雅歌》在中国语境中的诠释传统发生了改变,形成以书拉密女为主角,突出女性意识;以所罗门为配角,歌颂“崇智精神”等为结点的新型诠释网格。吴曙天的《雅歌》新译以其独特的文学文本价值疏远了圣经的宗教语境,使人们可以从中获得独特的爱情戏剧阅读经验。
The subtext of the translation is an important basis for the reader to interpret the translation idea or translation tendency of the translation. The 1930 Publications of Wu Shutian, Song of Songs, accompanied by Hu Shi inscriptions, narration, illustrations and 4 research papers. Through the analysis of these sub-texts, we can find that Wu Shutian agrees with the literary view of “Song of Songs” in his appendix. However, the subtext and action text inserted as a narration make the translation dynamic and performance-oriented. Based on the female translator ’s experience, this model highlights the “Heroine / Supporting Actor” model, which has changed the tradition of “Song of Songs” in the Chinese context. To Solomon as supporting actor, praises “Spirit of Wisdom ” as the node of the new interpretation of the grid. Wu Shutian’s new translation of “Song of Solomon” alienates the Bible’s religious context with its unique literary text value, so that people can gain unique experiences of reading love drama.