汤亭亭《中国佬》肖锁章中译本变异现象的文化透视
发布时间：2018-12-30 12:07
【摘要】：《中国佬》是美籍华裔作家汤亭亭的一部跨文化的叙事作品，自1980年出版以来便受到广泛关注，并被译为了中文和日文。其中，中文有三个版本：1980年由台北皇冠出版社出版的《杜鹃休向耳边啼》（又名《金山勇士》）以及分别于1985年和2000年由内地出版的《金山华人》和《中国佬》。这部有关中国题材的作品，成为了西方世界的热门畅销书，却在返回中国时遭到了国内读者的冷遇。对于《中国佬》这样一部以女性自传性的口吻讲述族裔男性历史故事并以华裔身份再次构筑中国文化的著作，无论是其英文版还是中文版都是非常值得关注和研究的。三部中译本中:台北版已绝版；李美华译本《金山华人》由于时间较为久远，其用语习惯与今有所不同，并且译本中关于历史、宗教、典故等较难理解的部分出现了一些偏差；肖锁章译本《中国佬》与现代语言较为贴近，是现阶段较为流行的版本。因此，本文将采用肖锁章的中译本《中国佬》作为研究对象，以文学变异学为理论基础并结合后殖民翻译理论来探讨翻译过程中的变异现象及其变异背后的文化动因。 本文中的变异主要是指译者在翻译过程中由于受到各种内部和外部因素的影响对原文中的人物形象、语言及风俗文化的更改，误读，美学再现，升华，扭曲和偏差等现象。第一章从楔子中的神话小故事和正文中的现代故事两条主线来探讨原文和译文文本中中国男性形象的变异，其中现代故事部分选取了文化特定词的误读现象和诗歌的变异现象两方面来进行分析。第二章分为华人会话中撇脚的英文和语用话语、习语中的文化元素和带有前景化特征的词汇三方面来深入解析译本中语言层面的变异现象。第三章从中国风俗文化入手，对其中的民族标记和“说故事”的叙事策略展开了讨论，其中民族标志重点关注了称呼语、婚葬仪式以及迷信观念等传统风俗。通过分析发现，由于语言、文化和思想的差异，，译者对原文基本采用归化的翻译策略，从而引发原文中形象、语言和文化的失落和变形，导致原文在翻译过程中发生了变异。这种变异一是体现了译者的解殖民化意识，二是抹掉了原文本中的东方主义色彩。 经过以上分析讨论，本文所得结论如下：对于跨文化的叙事作品来说，不同的文化身份在翻译中发生碰撞、协商和争斗，在这个过程中出现了“解殖民化”和“东方主义”色彩被抹掉等现象，其必然结果是翻译过程中文本的变异。通过透视美籍华裔作家的双重文化身份和变形背后的文化动因，本文希望能在以下方面做出一定的贡献：一、希望通过对翻译变异的研究从另一个角度观察翻译活动的规律；二、希望本文能对曹顺庆的文学变异学文本化并丰富华裔文学中以文本为中心的翻译研究；三、希望本文能为当代华裔文学如何恰当地传播到中国以及具有双重文化特性的变形能否走向世界提供一些思考。
[Abstract]:Chinese American writer Kingston is a cross-cultural narrative, published in 1980, has received widespread attention, and has been translated into Chinese and Japanese. Among them, there are three editions in Chinese: "cuckoo", published by Taipei Crown Publishing House in 1980, "Don't keep crying in my ear" (also known as "Golden Mountain Warrior") and "Jinshan Chinese" and "Chinaman" published in China in 1985 and 2000 respectively. The Chinese-themed book became a popular bestseller in the West, but was greeted by domestic readers when it returned to China. For the book "Chinatown", which tells the historical story of ethnic male in the female autobiographical tone and reconstructs Chinese culture as Chinese, it is worth paying attention to and studying whether it is in English version or in Chinese version. Among the three Chinese versions, the Taipei edition is out of print; Li Meihua's version Jinshan Chinese is different from the present because of its long time, and there are some deviations in the difficult parts of the translation, such as history, religion, allusions, etc. Xiao Zhang's translation Chinaman is more close to modern language and is a popular version at the present stage. Therefore, this thesis will take Xiao Zhang's Chinese translation, "Chinaman", as the object of study, based on the theory of literary variation and combined with post-colonial translation theory, to explore the phenomenon of variation in translation process and the cultural reasons behind it. The variation in this paper mainly refers to the translation process in which the translator is influenced by various internal and external factors on the characters, language, customs and culture of the original text, misreading, aesthetic reproduction, sublimation, distortion and deviation, and so on. The first chapter discusses the variation of the Chinese male image in the original text and the translated text from the two main lines of the fairy tale in the wedge and the modern story in the text. In the part of modern story, two aspects are selected to analyze the misreading phenomenon of cultural specific words and the variation of poetry. The second chapter is divided into three parts: English and pragmatic discourse in Chinese conversation, cultural elements in idioms and words with foregrounding features to analyze the linguistic variation in the translation. The third chapter begins with the Chinese customs and culture, and discusses the national symbols and narrative strategies of "telling stories", in which the national symbols focus on traditional customs such as address, marriage and burial ceremonies, superstition and so on. Through the analysis, it is found that due to the differences of language, culture and thought, the translator basically adopts a domesticated translation strategy for the original text, which leads to the loss and distortion of the image, language and culture in the original text, which leads to the variation of the original text in the process of translation. This variation reflects the translator's sense of decolonization and erases the orientalism in the original text. After the above analysis and discussion, the conclusions are as follows: for cross-cultural narrative works, different cultural identities collide, negotiate and fight in translation. In this process, the phenomena of "decolonisation" and "Orientalism" are erased, and the inevitable result is the variation of the Chinese text in the process of translation. Through the perspective of the dual cultural identity of Chinese-American writers and the cultural motivation behind the transformation, this paper hopes to make some contributions in the following aspects: first, the author hopes to observe the law of translation activities from another angle through the study of translation variation; Secondly, it is hoped that this thesis can enrich the text-centered translation study of Cao Shunqing's literary variation and enrich the text-centered translation studies in Chinese literature. Third, I hope this paper can provide some thoughts on how to spread the contemporary Chinese literature to China and whether the transformation with dual cultural characteristics can go to the world.
【学位授予单位】：四川外语学院
【学位级别】：硕士
【学位授予年份】：2012
【分类号】：I712.074;H315.9
本文编号：2395563
[Abstract]:Chinese American writer Kingston is a cross-cultural narrative, published in 1980, has received widespread attention, and has been translated into Chinese and Japanese. Among them, there are three editions in Chinese: "cuckoo", published by Taipei Crown Publishing House in 1980, "Don't keep crying in my ear" (also known as "Golden Mountain Warrior") and "Jinshan Chinese" and "Chinaman" published in China in 1985 and 2000 respectively. The Chinese-themed book became a popular bestseller in the West, but was greeted by domestic readers when it returned to China. For the book "Chinatown", which tells the historical story of ethnic male in the female autobiographical tone and reconstructs Chinese culture as Chinese, it is worth paying attention to and studying whether it is in English version or in Chinese version. Among the three Chinese versions, the Taipei edition is out of print; Li Meihua's version Jinshan Chinese is different from the present because of its long time, and there are some deviations in the difficult parts of the translation, such as history, religion, allusions, etc. Xiao Zhang's translation Chinaman is more close to modern language and is a popular version at the present stage. Therefore, this thesis will take Xiao Zhang's Chinese translation, "Chinaman", as the object of study, based on the theory of literary variation and combined with post-colonial translation theory, to explore the phenomenon of variation in translation process and the cultural reasons behind it. The variation in this paper mainly refers to the translation process in which the translator is influenced by various internal and external factors on the characters, language, customs and culture of the original text, misreading, aesthetic reproduction, sublimation, distortion and deviation, and so on. The first chapter discusses the variation of the Chinese male image in the original text and the translated text from the two main lines of the fairy tale in the wedge and the modern story in the text. In the part of modern story, two aspects are selected to analyze the misreading phenomenon of cultural specific words and the variation of poetry. The second chapter is divided into three parts: English and pragmatic discourse in Chinese conversation, cultural elements in idioms and words with foregrounding features to analyze the linguistic variation in the translation. The third chapter begins with the Chinese customs and culture, and discusses the national symbols and narrative strategies of "telling stories", in which the national symbols focus on traditional customs such as address, marriage and burial ceremonies, superstition and so on. Through the analysis, it is found that due to the differences of language, culture and thought, the translator basically adopts a domesticated translation strategy for the original text, which leads to the loss and distortion of the image, language and culture in the original text, which leads to the variation of the original text in the process of translation. This variation reflects the translator's sense of decolonization and erases the orientalism in the original text. After the above analysis and discussion, the conclusions are as follows: for cross-cultural narrative works, different cultural identities collide, negotiate and fight in translation. In this process, the phenomena of "decolonisation" and "Orientalism" are erased, and the inevitable result is the variation of the Chinese text in the process of translation. Through the perspective of the dual cultural identity of Chinese-American writers and the cultural motivation behind the transformation, this paper hopes to make some contributions in the following aspects: first, the author hopes to observe the law of translation activities from another angle through the study of translation variation; Secondly, it is hoped that this thesis can enrich the text-centered translation study of Cao Shunqing's literary variation and enrich the text-centered translation studies in Chinese literature. Third, I hope this paper can provide some thoughts on how to spread the contemporary Chinese literature to China and whether the transformation with dual cultural characteristics can go to the world.
【学位授予单位】：四川外语学院
【学位级别】：硕士
【学位授予年份】：2012
【分类号】：I712.074;H315.9
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