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本文集中讨论《三国演义》的英译问题。作为中国最著名的历史小说,《三国演义》在19世纪开始引起英语世界读者的注意。从1820年开始,在随后的一百多年时间内,这本小说有十四个节译本和一个全译本在英国及其殖民地陆续出版。在翻译过程中,为了减轻英语世界读者的理解困难,当时大多数译者都采取了极端归化译法,尽可能地消解其历史和文化内涵,以求满足目标读者群体的心理预期。如此一来,文学翻译作为双方文化交流的重要一环,不仅参与塑造了中国在英国的文化形象,同时也影响了英帝国自身的主体性建构。本篇论文以邓罗的节译《精心密谋与爱情场景》为例,具体描述这一过程并分析其运行机制。作者认为,邓罗综合运用了内容指向型策略、形式指向型策略和意识形态干预等翻译技巧,成功地将原文本从中国传统文学中的一个章节转化成了一幕浪漫主义戏剧。他砍掉了主体情节以外的多数旁枝末节,将翻译重心完全放在角色行为和戏剧冲突上,最终呈现出了一个能够取悦大多数目标读者的改头换面的“美人计”。他的翻译进一步强化了中国传统文学在英语世界的固有形象,同时作为英国文化殖民的一环,也在当时的历史背景下发挥了无声效用。
This article focuses on the English translation of the Romance of the Three Kingdoms. As the most famous historical novel in China, The Romance of the Three Kingdoms began to attract the readers of the English-speaking world in the 19th century. From 1820 onwards, fourteen verses and one full translation of the novel were published in the UK and its colonies over the next hundred years. In the process of translation, in order to alleviate the difficulties of comprehension for English readers, most of the translators adopted extreme domestication and translation at the time to eliminate their historical and cultural connotations as much as possible so as to meet the psychological expectations of the target audience. As a result, literary translation, as an important part of cultural exchange between the two sides, has not only involved in shaping China’s cultural image in the United Kingdom, but also influenced the subjectivity of the British Empire itself. This dissertation takes Deng Luo’s section “elaborate conspiracy and love scenes” as an example to describe the process in detail and analyze its operating mechanism. The author believes that Deng Luo integrated the translation strategies of content-oriented strategy, formal-oriented strategy and ideological intervention, successfully transforming the original text from a chapter in Chinese traditional literature into a romantic drama. He cut off most of the extremists except the main plot, completely shifting the focus of the translation on the role and drama conflicts, and ultimately presented a “beauty meter” that would please most target audiences. His translation further strengthened the inherent image of Chinese traditional literature in the English-speaking world and at the same time, as part of British cultural colonialism, also played a silent role under the historical background of that time.