【作者】 吕敏宏；

【导师】 王宏印；

【作者基本信息】 南开大学 ， 英语语言文学， 2010， 博士

【摘要】 葛浩文是一位美国学者和翻译家,他为国人所知缘于他对中国新文学时期女作家萧红的“发掘”性研究,以及他对中国现当代小说的翻译。他从20世纪七十年代起开始翻译中国现当代小说,至今已有三十年的历史。三十年当中,他孜孜不倦地翻译了中国大陆及港台三十几位知名作家的四十余部长篇小说,而他翻译的短篇小说更是不计其数。在现有以葛浩文小说翻译为对象的相关研究中,或对葛浩文先生的翻译观及技巧作总体概述；或以葛浩文翻译的某部小说为依托,探讨文化差异下的翻译研究问题；或以葛浩文翻译的小说译本为研究资料,从英汉语言对比的角度,探讨汉英翻译的转换技巧及机制；或以葛译小说个别译例为窗口,佐证某个理论在翻译中的解释力。唯独不见从文学审美的角度,尤其是从小说叙事的角度,研究葛浩文先生的小说翻译。他的译作享誉海内外,而他在中国,尤其是翻译界却相当“默默无闻”。这与追随西方翻译理论研究为主流的我国翻译界有很大关系。本论文试图以葛浩文的小说翻译为个案,通过对其代表性译作的文本分析,从叙事研究的角度出发,探讨其小说翻译的叙事策略和技巧,以及小说作为一种文类为翻译提供的再创造空间。葛浩文翻译成果丰硕,本论文选择了其中较有代表性的三部小说及其译本为研究对象。葛译小说中既有男性作家的作品,也有女性作家的作品；既有大陆作家,也有港台作家；既有现代小说,也有当代小说。本论文在选择译本时,尽量照顾到这些方面。在所选的三部小说中,萧红是大陆现代女性作家,莫言是大陆当代男性作家,朱天文是台湾当代女性作家。而且,所选的三部小说分别代表了三种不同类型的小说,分别是情感型的《呼兰河传》,情节型的《红高粱家族》,思想型的《荒人手记》。因此,兼顾各方,本论文选择这三部小说作为文本研究对象。《呼兰河传》是散文化情感型小说。这类小说不以离奇曲折的故事为己任,小说中的人物和故事不是为了吸引读者,而是为了抒发作者的情感。对《呼兰河传》而言,就是在浓浓怀乡中批判家乡父老愚昧、麻木的国民性精神状态,表达了作者“哀其不幸,怒其不争”的复杂情感。小说特殊的橘状结构、无时性叙述、聚焦方式与叙述声音都在不同程度上强化了小说淡化情节的散文化、口语化特征。在英译本中,译者对橘状结构和无时性叙述的处理效果较好,但是对原文特殊的聚焦方式和叙述声音的处理效果则不尽人意,使其中蕴含的价值和意义有所遗失。《红高粱家族》属于典型的情节型小说。这类小说以故事建构和情节设计为重,因此,这部小说突现了小说叙事研究中对故事和情节的关注。二十世纪的小说实践颠覆了十八世纪莱辛(Gotthold Ephraim Lessing)在《拉奥孔》(Laocoon)中关于文学是时间艺术的论断,作家们醉心于小说的空间化建构。《红高粱家族》时空关系交错,情节曲折,表现了作者意欲突破传统的线性情节安排,改变平面化处理叙事时间的努力。译文中通过事件重组、省略非叙述评论、省略卫星事件等手段,使小说结构紧凑、情节连贯,强化了小说叙事时间的自然顺序,表现出译者和原文作者不同的书写理念。一方面,译文迎合了译文读者的阅读习惯和心理,另一方面,也表现出西方主流诗学对中国文学的边缘化。《荒人手记》则是一部思想型小说。它既不像《呼兰河传》那样散文般抒发作者内心情感,也不像《红高粱家族》那样构建引人入胜的故事和扑朔迷离的情节,而是以故事叙述为契机,追索同性恋者的身份认同、人类存在的意义、宗教文化、两性关系、等等文化现象的思想沉浮录,其主题丰富而深刻。小说以重峦叠嶂的意象铺陈故事,以极尽耽美的陌生化文字诉诸感官,断句叠词更加突显女性思维方式,形成小说极具个性的阴性书写特征。该小说的风格与主题完美统一,风格本身构成主题,即以求异的书写方式,质疑常态的异性恋体制和男权话语秩序的权威。从叙事的角度来说,这类小说既没有经典叙事学的聚焦方式与叙述话语的复杂关系,也没有经典叙事学的故事与情节的纠缠,却表现出后经典叙事学中叙事文本与社会历史语境的关系。英译本中,尽管译者十分尊重原文风格,但仍表现出对传统叙事规约的妥协,通过非标记化和叙事化手段弱化原文的奇异色彩,并在这一翻译行为之下,无意识地扭转了叙述者性别,再次彰显了男权话语的中心地位。纵观葛浩文对中国现当代小说的翻译历程,明显有一个从原文中心主义向译文本和译文读者倾斜的变化。在翻译事业之初,葛浩文的翻译略显稚嫩,译文时常显得生硬,翻译腔浓厚,有着明显的“隔”之嫌。随着时间的流逝,随着他翻译实践的丰富,也随着翻译大气候的变化,葛浩文凭借丰富的想象力和深厚的中英文语言功底,逐渐在原文与译文之间拿捏自由,游刃有余。尤为突出的是,葛浩文非常注重译文可读性,并在尽可能保持原文风貌的基础上,通过各种方法简化译本,形成他小说翻译的易化原则。一方面,其易化原则在追求译文可读性的同时,表现出原文作者和译者不同的书写理念,以及西方主流诗学对中国文学的边缘化操控,另一方面,其易化原则在表现出译者对传统叙事规约的遵循,力求使故事因果分明、情节连贯的同时,也表现出译者面对叙事规约和作者创作以及读者阅读的双重矛盾,以及叙事文本与社会历史语境之间的矛盾。文学翻译是再创造的艺术。就小说文类的翻译活动而言,故事的翻译再创造空间最小,它是小说翻译的最小忠实维度；但译者可以通过素材挖掘、事件重组等手段重建小说情节,延伸小说虚构性；叙述话语的翻译再创造空间最大,且由于中西方不同的审美习惯和语言差异,例如汉语的意合性和英文的形合性,中文小说中常见模糊性叙述话语,即叙述者话语和人物话语的隐性越界,造成阐释的多义性。译者常常需要根据文本内语境和文本外语境进行判断,在多种可能中确定一种,如果选择不当或疏忽,则会造成原作和译作文本内蕴的较大差异,使读者的阅读心理感受发生偏离。葛浩文认为,翻译是写作的高级阶段,翻译意味着对原文的重写。然而,他的重写并非“改写”。重写并不排斥对原文的接受,并且与原文保持密切的关系。重写与原文之间有一种温和协调的合作关系,而“改写”则透射出译文与原文的某种对抗关系；重写意味着与原文的协商和对话,而“改写”则隐含着对原文的挑战和怀疑。尽管我们承认翻译的行为具有再创造的成分,尤其是文学翻译,然而翻译毕竟不是原创,翻译的本质注定了译文的受束性,不可能完全反叛原文,而是有条件的创造性叛逆。对于翻译而言,译文就是原文同构母体的变体。如果说译文是原文的互文体,那么这一互文体与原文同构母体之间的衍生关系必然清晰可辨,就像是空中的风筝,无论它飞得多高,总有一根绳子牵引着它,那根绳子就是原文文本。葛浩文就是这样一位紧紧抓着风筝的绳子,让其在空中自由飞翔的放飞者。更多还原

【Abstract】 Howard Goldblatt is an American Scholar and translator who is known by Chinese people with his study of Chinese New Literature, esp his "dig-up" study of Chinese woman writer of that period, Xiong Hong, and also with his translation of modern Chinese novels. He started his translating work since 1970s. During the past three decades, he has translated more than forty novels and numerous short stories of more than thirty well-known Chinese writers in China’s mainland, Hong Kong and Tai Wan. Among the research papers on Howard Goldblatt’s translations, they either give general statements about his ideas of translation, or study translating under the polycultural envirionment with his translations as analyzed materials, or study the linguistic translating mechanism from the angle of comparative linguistics, or provide evidences for some translation theories. But there are no research papers done from the perspective of literary aesthetics, esp fictional aesthetics. Being contrasted with his great achievemenst as a translator, Howard Goldblatt seems to be quite unknown in the field of translation studies in China. This may have to do with the fact that concentrating on the western translation theories dominates the mainstream in the field of translation studies in China. This dissertation aims to do some research on Howard Goldblatt’s translations from the perspective of fictional aesthetics, based on which it hopes to contribute to the art of fictional translation.In consideration of Howard Goldblatt’s great achievements in translation that include novels by male and female writers of China’s mainland, Tai Wan and Hong Kong from 1930s up to the present, this dissertation selects three representative works and their English versions as research materials. They are Tales of Hulan River by Xiao Hong, a female writer of China’s mainland in the 1930s, Red Sorghum by Mo Yan, a male writer of modern China’s mainland, and Notes of a desolate man by Chu T’ien-wen, a female writer of modern Tai Wan. Besides, these three novels also repesent three different kinds of first-person novels:emotion-oriented novels, plot-oriented novels, and ideology-oriented novels. Tales of Hulan River is a proselike emotion-oriented novel which does not intend to construct an attractive story. The charaters and stories in it are there to satisfy the author’s emotions rather than attract the readers. In the case of Tales of Hulan River, they are there to express a kind of complicated feelings of criticizing the countryfellows’s spiritual fatuity and torpidity wrapped in strong emotion of nostalgia. In the novel, the special orangelike structure, the timeless narration, the ways of focalization and the vioces of narration all contribute to the proselike and oral features of the plotless novel. The English version does well in capturing the features of the orangelike structure and the timeless narration, but is a bit poorer in capturing the value covered in the ways of focalization and the vioces of narration.Red Soghum is a typical plot-oriented novel which takes the construction of attractive story and plot as its main task, entailing the examination of its story representation and plot reconfiguration as an important study in the English version. In the twentieth century, writers tend to spacialize their novels which is quite a revolt against the idea that literature is art of time in Lessing’s Laocoon. Red Soghum is constructed in a twisted and distorted plot with frequent flashbacks and flashforwards, which exposes the writer’s intention of breaking the traditional linear and chronological development of the plot. By means of reorganizing the events, omitting the non-narrating comment and the satellite incidents, the English version comes to be more compact and continous in plot development, which somewhat enhances the linear and chronological narration. Hence a contradiction between the writing notion of the original writer and that of the translator. The rewriting of it caters for the English readers, but at the same time comes on as manipulation of Chinese literature by the mainstream western poetics.Notes of a desolate man is otherwise an ideology-oriented novel which neither mainly expresses emotions like the proselike Tales of Hulan River, nor does it create attactive story like Red Soghum, but provokes ideological meditation in homosexual identity, existential significance of human beings, religion, and the relationship of men and women with the help of a skeloton story. The text is interwoven with heaps of images in a luxrious way of feminine writing that connects the readers’senses with frequent fragmentated phrases and repeated words. The style perfectly conforms the thematic significance in the novel, or even, the style itself constitutes the theme of the novel in a way. It questions the normal position of the compulsory heterosexuality and the masculine patriarchal authority of writing system in its abnormal way of writing. In the novel, there is no classic confusion of focalization and voices, nor construction of story and plot, but a relationship between the narration and the historical context in terms of the postclassical narratology. In the English version, out of a compromise of the traditional narrative rules, the translator somewhat reverses the gender of the narrator by way of non-marked style and narrationization and, as a consequence, manifests the masuline patriarchal authority of writing system.Taking Howard Glodblatt’s translating practice as a whole, there shows a clear cline from the source-text orientation to the target-text orientation. At the beginning of his translating, he seemed to care too much about whether he had remained all the information in the original text to an extent that he sometimes even distorted the English text with distinct translationese. Along with time passage, with more and more of his practice and with the climat of translation studies as well. Howard Goldblatt becomes more adept at translating surported by his powerful imagination and solid background in both Chinese and English writing.What’s more conspicuous is that Howard pays more attention to the readability of the English versions and even takes shape a rule of simplification that tends to simplify the text as possible, while damaging the original style and features in the least degree at the same time. On the one hand, his rule of simplification shows not only a collision between the original writer’s notion of constructing the story and that of the translator, but also the marginalization of Chinese literature in the mainstream western poetics, on the other hand, Howard observes the tradtional narrative rules to make the logic clear and the plot continuous in the story, but is caught in the contradiction of the writer’s artistic pursuit and the reader’s habits of economic reading, and the contradiction of the text and its historical and cultural context as well.Translation, especially literary translation, is recreation. Taking novels as a genre, the story provides the least recreation capacity for the translator. It’s the least requirement of fidelity for fictional translations, but the translator may relate the events so as to extend its fictionality in one way or another. Narrative discourse provides enormous recreation capacity for translation. The different aesthetic philosophy of the west and the east constitutes the different language of the English hypotaxis and the Chinese parataxis, which brings about the fact that in Chinese fictional text, there tends to be more ambiguous discourse that is difficult to tell the character’s discourse from the narrator’s, leading to polysemous interpretation. In most of the cases, the translator has to ascertain one from many possible interpretations according to the in-text context as well as the out-text context. Improper selections on account of any slight negligence may lead to divergence of the narrating tone that is great enough to cast different feelings on the readers of English versions.Howard Goldblatt holds that translation is a more advanced stage of writing and that translating means rewriting. His rewriting does not mean a reverse from the original but indicate negotiable and compatible adjustment to the original text. Translation is a recreation as well as a restriction that makes it a variation that shares the same isomorphic matrix as the original text. The intertextual relationship between the translated text and the original one is differentiable, just like a kite in the sky, no matter how high it flies, there is the flyer at the other end of the string. Howard Goldblatt is exactly such a kite flyer, flying his kite high in the sky, but always holding tighly his string.更多还原