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肇始于1902年的《哀希腊》百年汉语翻译史,映射的是不同译者把拜伦诗歌纳入历史语境、注入个体生命的诠释过程。源文本只有一个,目标文本可以无穷衍生;目标文本在转化源文本的同时在语内交流系统中相互对话,泽者的存在论地位与影响的焦虑亦在此凸显。梁启超、马君武的《哀希腊》译本为时局政教服务的认知取向,促使拜伦和诗歌主人公的形象成为结构于启蒙救亡意识形态的文化想象。苏曼殊、胡适、查良铮等人的译本在着意考量语际交际的同时,更倾力探索东西文学审美的共同体与文学语言的共通语法。这些各有千秋、溯古还今的诗性创译实践,直接促成《哀希腊》在远离源语言文化的异域文坛成为文学经典,亦使之成为透视中国近现代文学翻译的万花筒。
Beginning in 1902, the hundred-year Chinese translation history of “Ai La Greece” mirrored the process by which different translators incorporated Bylan’s poetry into the historical context and into the individual life. There is only one source text, and the target text can be derived infinitely. The target text converses with each other in the system of internal communication while transforming the source text. The existential position and the anxiety of the influence are also highlighted here. Liang Qi-chao and Ma Jun-wu’s translation of “Mi Greece” is the cognitive orientation of the service of state and religion in the current situation, which urges the image of the protagonist in Byron and his poems to become a cultural imagination based on the ideology of salvation. Su Manshu, Hu Shi, Chaliangzheng and others’ translation tries to explore the common grammar of literary esthetic community and literature language of Eastern and Western Literature while paying attention to intercultural communication. These practices of poetic creation which have their advantages and are of different ages and ancient times have directly contributed to the “sad Greek” becoming a literary classic in the exotic literary field away from the source language and culture and making it a kaleidoscope of translation in modern and contemporary Chinese literature.