發(fā)布時(shí)間：2018-06-01 01:34

  本文選題：楊憲益 + 《中國文學(xué)》英文版　； 參考：《華中師范大學(xué)》2011年碩士論文

【摘要】：本論文以翻譯家楊憲益和《中國文學(xué)》雜志(英文版)為研究對(duì)象,將其納入具體的社會(huì)背景,從源語文化系統(tǒng)諸因素,如詩學(xué)、贊助人和意識(shí)形態(tài)等角度來描述翻譯活動(dòng)的性質(zhì)。對(duì)外譯介項(xiàng)目如《中國文學(xué)》雜志并不僅僅是將源語翻譯成日的語的過程,更是一種文化交流。 《中國文學(xué)》雜志是唯一一份面向外國的官方文學(xué)雜志。從其創(chuàng)刊開始,它就一直受外文出版社轄制。 楊憲益是一名杰出的翻譯家,他為這家官方雜志工作了近半個(gè)世紀(jì)。1976年他是該雜志的執(zhí)行編輯,直到1987年他歷任執(zhí)行主編、副主編、主編和顧問。在他任職期間,他的身份幾經(jīng)變更,從主要譯者到專業(yè)人士到贊助人。勒菲弗爾認(rèn)為,翻譯家、評(píng)論家以及教師都是在文學(xué)系統(tǒng)內(nèi)部起作用的專業(yè)人士。楊憲益正是這樣一位專業(yè)人士和贊助人,他的翻譯活動(dòng)正是一種改寫,使其作品符合社會(huì)主流意識(shí)形態(tài)和詩學(xué)。 本文以勒菲弗爾的改寫理論為理論基礎(chǔ),從三個(gè)時(shí)期來探討楊憲益與《中國文學(xué)》雜志的長期合作關(guān)系,試圖盡量詳細(xì)的分析源語文化因素是如何影響楊憲益和《中國文學(xué)》雜志的翻譯活動(dòng)的。 第一個(gè)時(shí)期是1951到1966年,如此設(shè)定第一個(gè)時(shí)期是因?yàn)椤吨袊膶W(xué)》雜志創(chuàng)刊于1951年,而1966年則見證著一場(chǎng)意義深遠(yuǎn)的運(yùn)動(dòng)的開始-文化大革命。這一時(shí)期,雖多種意識(shí)形態(tài)并存,然而馬列主義毛澤東思想仍占主導(dǎo)地位,國際形勢(shì)非常嚴(yán)峻,新中國采取了一邊倒的外交政策。 五六十年代的左傾政策、詩學(xué)以及《中國文學(xué)》雜志真正的贊助人--中央政府都在很大程度上影響其翻譯選材。自創(chuàng)刊之日起,《中國文學(xué)》雜志就肩負(fù)著特殊的政治任務(wù),取得其他國家的理解和支援,提升中國的國際形象,以創(chuàng)造更好的國內(nèi)建設(shè)條件。此期間,楊憲益的翻譯活動(dòng)呈現(xiàn)兩個(gè)特點(diǎn)。一是在翻譯選材上受到極大的限制,盡管他已經(jīng)盡量爭(zhēng)取翻譯他喜歡的題材。二是大躍進(jìn)式的翻譯,這是由當(dāng)時(shí)的主流社會(huì)意識(shí)形態(tài)決定的。 第二個(gè)時(shí)期是1966年到1976年,這是一個(gè)特殊的史無前例的文化停滯期。此期的翻譯活動(dòng)帶有非常明顯的政治色彩。文革期間的主流詩學(xué)不外乎共產(chǎn)主義和階級(jí)斗爭(zhēng)。毛主席的文藝方針是全國文藝界的指導(dǎo)方針和信條。楊憲益的官僚出身以及夫人戴乃迭的英國國籍問題導(dǎo)致這對(duì)夫妻不再受到共產(chǎn)黨的信任,楊憲益在此期間,兢兢業(yè)業(yè)的從事本職工作,沒有多少選擇翻譯題材的自由。盡管他大多從事他所喜愛的中國古典文學(xué)翻譯,也翻譯了一些他喜歡的作家,魯迅的作品,前提是這些是與文革的主流意識(shí)形態(tài)和詩學(xué)相符的。文藝界在文革十年浩劫期間未能幸免,《中國文學(xué)》雜志艱難發(fā)行。 最后一個(gè)時(shí)期是通常所稱的新時(shí)期,1976年到1989年。1976年,四人幫倒臺(tái),文藝界煥發(fā)新生,盡管文革期間的極左思潮仍存于新時(shí)期伊始的一段時(shí)間。隨著社會(huì)的快速發(fā)展,舉國在短期內(nèi)發(fā)生很大變化,翻譯的譯介對(duì)象不僅僅如以往只限于社會(huì)主義國家作品,文學(xué)翻譯也不再需要趨從社會(huì)主流意識(shí)形態(tài)。此外,文學(xué)作品是否符合對(duì)外譯介的標(biāo)準(zhǔn),怎樣評(píng)價(jià)譯作都發(fā)生了變化,不再要求作品一定具有進(jìn)步性和革命性。 這一時(shí)期可謂是楊憲益的創(chuàng)作高峰期,在此期間他完成了大量譯作并重版了一些以前的舊作。1979年他升任《中國文學(xué)》雜志副主編,第二年一代文豪茅盾去世,他則升任主編。在任《中國文學(xué)》雜志主編期間,他對(duì)《中國文學(xué)》雜志進(jìn)行了大刀闊斧的改革。作為一名翻譯家,專業(yè)人士以及贊助人,他擁有多重身份,為《中國文學(xué)》雜志和“熊貓叢書”做出了巨大貢獻(xiàn)。1981年楊憲益提議出版一套“熊貓叢書”,向西方介紹優(yōu)秀的中國文學(xué)�？偟膩碚f,他提議的“熊貓叢書”取得了很大的成績。大量的中國古典作品以及現(xiàn)當(dāng)代作品通過“熊貓叢書”譯介到了一百五十多個(gè)國家,受到國外讀者好評(píng)。其中,一些暢銷作品重版多次。即使是時(shí)至今日,仍有不少讀者緬懷這套叢書。 根據(jù)上述分析,本文得出如下結(jié)論：其一,作為官方雜志,《中國文學(xué)》雜志在很大程度上受到多重源語文化因素的制約,如社會(huì)主流意識(shí)形態(tài),真正的贊助人政府,專業(yè)人士和贊助人如楊憲益。其二,對(duì)外譯介項(xiàng)目如《中國文學(xué)》雜志和“熊貓叢書”并不僅僅是將源語翻譯成目的語的過程,更是一種文化交流。政府的對(duì)外宣傳,如《中國文學(xué)》雜志和“熊貓叢書”不僅需要考慮源語文化因素也要關(guān)注譯入語文化因素。其三,以楊憲益為代表的許多杰出翻譯家,窮其一生致力于“東學(xué)西漸”,然而翻譯活動(dòng)并不是發(fā)生在真空環(huán)境的,而是產(chǎn)生于特定的社會(huì)環(huán)境。因此,我們有必要將翻譯活動(dòng)重置于當(dāng)時(shí)的特定社會(huì)背景來進(jìn)行分析。
[Abstract]:This paper, taking the translator Yang Xianyi and the Chinese literature magazine as a research object, incorporates it into a specific social background and describes the nature of the translation activities from the aspects of the source language culture system such as poetics, patrons and ideologies. Foreign translation projects such as Chinese literature are not only translated into the source language. The process of language is a kind of cultural communication.
Chinese literature magazine is the only official literary magazine facing foreign countries. Since its founding, it has been under the control of foreign language publishing houses.
Yang Xianyi was an outstanding translator who worked for this official magazine for nearly half a century in.1976, the executive editor of the magazine, until 1987 he was the executive editor, associate editor, editor, and consultant. During his tenure, his identity was changed, from major translators to professionals to patrons. Lefebvre believed that translation The family, the critic and the teacher are the professionals who work inside the literary system. Yang Xianyi is a professional and patron, and his translation is a rewriting to make his work conform to the mainstream ideology and Poetics of society.
This paper, taking the rewriting theory of Lefevere as the theoretical basis, explores the long-term cooperative relationship between Yang Xianyi and the Chinese literature from three periods, and tries to analyze how the cultural factors of the source language affect the translation activities of Yang Xianyi and the Chinese literature.
The first period was 1951 to 1966, and the first period was set in the first period because of the creation of the Chinese literature in 1951, and in 1966 it witnessed the beginning of a far-reaching movement - the cultural revolution. In this period, although many ideology coexisted, the Marxism Leninism Mao Zedong thought was still dominant, and the international situation was very severe. The new China has adopted a one-sided foreign policy.
The leftist policy of 50s and 60s, the poetics and the real patron of the Chinese literature, the central government, have greatly influenced their translation selection. Since the beginning of the publication, the Chinese literature has taken special political tasks, gained the understanding and support of other countries, promoted the international image of China, and created a better country. Internal construction conditions. During this period, Yang Xianyi's translation activities presented two characteristics. First, the translation selection was greatly restricted, although he had tried to translate his favorite subject matter. Two was the great leap forward translation, which was determined by the mainstream social ideology at that time.
The second period was from 1966 to 1976. This was a special historical period of cultural stagnation. The translation activities of this period were very political. The mainstream poetics during the Cultural Revolution were not out of communism and class struggle. Chairman Mao's literary policy was the guiding principle and creed of the national literary and art circles. Yang Xianyi's bureaucratic origin. And the question of Dai Naidie's British nationality led to the couple no longer trusted by the Communist Party. During this period, Yang Xianyi worked conscientiously and did not have much freedom to choose the subject of translation. Although he was mostly engaged in the translation of Chinese classical literature he loved, he also translated some of his favorite writers, Lu Xun's works. The premise is that these are in line with the mainstream ideology and Poetics of the cultural revolution. The literary and artistic circles were not exempt during the ten years of the cultural revolution and the Chinese literature was a difficult issue.
The last period is a new period commonly known. From 1976 to 1989.1976, the gang of four turned down and the literary and artistic circles were reborn. Although the polar Zuo Si tide during the Cultural Revolution remained at the beginning of the new period, with the rapid development of the society, the whole country changed a lot in the short term, and the translation and translation objects were not only limited to the society as used to be limited to the society. The literary translation does not need to follow the mainstream ideology of the society. In addition, whether the literary works conform to the standard of the foreign translation and how to evaluate the translated works have changed and no longer require the works to be progressive and revolutionary.
This period was the peak of Yang Xianyi's creation. During this period, he completed a large number of translations and published some former old works in.1979. He was promoted to the deputy editor of the Chinese literature. The second year old writer Mao Dun died and he was the editor in chief. During the period of the editor in the Chinese literature, he made a great sword to the Chinese literature. As a translator, professional and patron, he has multiple identities. He made a great contribution to the Chinese literature > magazine and the panda series. In.1981, Yang Xianyi proposed to publish a series of "panda series" to introduce excellent Chinese literature to the West. In general, his proposed "panda series" has made a great deal. Great achievements. A large number of Chinese classical works and modern and contemporary works are translated into more than 150 countries through the "panda series", which have been praised by foreign readers. Some of the best selling works are reprinted many times. Even today, many readers remember the series.
According to the above analysis, this article draws the following conclusions: first, as an official magazine, < Chinese literature > magazine is largely restricted by the cultural factors of multiple source language, such as the mainstream ideology of the society, the real patron government, the professional and the sponsors such as Yang Xianyi. Two, the foreign translation projects such as the Chinese literature magazine and the bear. "Cat Series" is not only a process of translating the source language into the target language, but also a cultural exchange. The government's external propaganda, such as the Chinese literature and the panda series, should not only consider the cultural factors of the source language, but also pay attention to the cultural factors of the target language. Thirdly, many outstanding translators represented by Yang Xianyi are devoted to their life. "East learning is coming to the west", however, translation activities do not occur in the vacuum environment, but are produced in a specific social environment. Therefore, it is necessary for us to put the translation activities in the specific social background of the time to be analyzed.
【學(xué)位授予單位】：華中師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2011
【分類號(hào)】：I206.7;G239.2

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本文編號(hào)：1962343