【作者】 荣立宇；

【导师】 王宏印；

【作者基本信息】 南开大学 ， 英语语言文学， 2013， 博士

【摘要】 仓央嘉措(1683-1706／1746),藏传佛教第六代达赖喇嘛,藏地杰出的抒情诗人。他创作的诗歌作品具有高度的艺术价值,在藏地家弦户诵,历300年而不衰。1930年,于道泉教授将仓央嘉措诗歌同时翻译成汉、英两种文字,开仓央嘉措诗歌汉、英全译之先河,同时也构成了其域内外文本旅行的滥觞。这犹如一条主河在某一点分出两脉不同的支流,各自冲积成不同的景观,衍生出别样的风景。截止2012年,仓央嘉措诗歌的跨语际旅行己走到第82个年头。在此期间,先后问世的汉语译本有21个之多,英语译本也多达15个,在世界范围内产生了一定的影响。特别是21世纪初,仓央嘉措诗歌更是在汉语文化圈中掀起一股热潮,带动了影视、出版、文化、艺术、旅游等多方面事业的迅速发展,同时也成功地塑造了仓央嘉措的经典作家地位。本论文以仓央嘉措诗歌在汉、英语文化圈中的翻译与传播为研究对象,考察了它们汉、英翻译的译介脉络,各个译本之间的生成、参考关系,译文生成的外部影响因素(如意识形态、主流诗学、藏学发展概况),仓央嘉措诗歌在汉、英文化中的传播、影响、接受情况,主要汉、英译本的特色及相关的文学翻译问题。在此基础上对仓央嘉措诗歌汉、英译介的统计学特征进行分析,指出各自的特征并且对仓央嘉措诗歌的复译进行反思；对藏语诗歌汉、英翻译在语言、诗律方面的可比性进行讨论,对翻译的跨语种对比进行探索性的尝试。挖掘翻译现象背后隐藏的理论问题进行探讨,其中涉及到重译、复译、学术性翻译、创意翻译等问题。最后还特别讨论了交集理论观照下的翻译问题,分析了诗歌翻译与创作的复杂关系。本研究发现,仓央嘉措诗歌的域内外传播表现出不同的脉络特征,其汉译与1930年以来中国社会不同历史阶段的时代特征关联密切,其英译则与海外藏学的发展情况息息相关。诸多译本(包括汉、英语译本)大致可以分为两类：以学术研究为目的的译本与创意翻译产生的译本,不同特色的译本又折射出译者不同的身份特征,即前者对应学者型译者,而后者指向诗人型译者。事实上,以学术研究为目的的翻译与创意翻译分别代表了译者不同的诗学追求。鉴于文学翻译特别是诗歌翻译中“信”与“雅”的自然分流,学术翻译与创意翻译作为两种策略在它们之间必然形成一种共生、互补的关系。接下来,仓央嘉措诗歌汉、英翻译的比较研究凸现了许多翻译问题。例如,汉语翻译领域很多译本缺乏特色,部分译者版权意识淡漠,直接来源于藏语的译本相对较少,一些译者率尔操觚,相关翻译批评缺席,值得注意。与之相对,仓央嘉措诗歌英译比较规范,大多数译本直接从藏文译出,即使是转译,译本的特色也十分鲜明。对比藏、汉、英三种语言(音节、音调)及其诗学(韵律、节奏与诗歌体式)特征,藏汉之间在语言、诗学方面的相似性便显露出来(与藏英在语言、诗歌方面相比较而言)。尽管音韵、节奏、音节发音等方面的因素常被视为不可译,但鉴于上述相似性的存在,藏、汉语之间诗歌体式的再现会更加逼真,译入语读者的接受会比较自然,译入语诗学规范的满足也近于浑然天成。本研究首次将交集理论引入翻译研究,赋予交集理论新的涵义,试图用这个理论解释仓央嘉措诗歌汉、英翻译中具有普适意义的翻译现象。从规范拘谨的学术性翻译到自由创造的创意性翻译,翻译与创作的概念分界渐次变得不再明显,译文本也由源文本的互文本渐次过渡成为承文本。事实上,对字翻译、学术翻译、创意翻译、临界翻译等类型分别处于从源语文本到译入语创作这一连续统的不同位置,它们之间呈现出渐次过渡的倾向。从严谨的对字翻译到极端的临界翻译,存在一个幅度很大的学术翻译与创意翻译的逐渐演变区域,由此构成文学翻译的丰富的创造性空间。本文指出对字翻译与学术翻译的单调性,创意翻译与临界翻译的丰富性,而诗歌翻译的丰富性无疑更加契合后现代社会的文化创造活力和语言临界点所展示的无限可能性。更多还原

【Abstract】 Tsangsyangs Tshomo Gyatso(1683-1706/1746), historically known as the sixth Dalai Lama of Tibetan Buddhism, is regarded as one of the most outstanding lyrists once appearing in the Tibetan history of literature, who authored many poems of high artistic value. These so-called love songs, famous and referred to as Tsangsyangs Gyatso Poems, which represent the highest achievement in composition of Tibetan "gzhas" songs, have enjoyed great popularity among the Tibetan people for three centuries. In1930, Yu Dao-quan, a famous Chinese Tibetologist, translated66pieces of Tsangsyangs Gyatso Poems from Tibetan into Chinese and English, marking the starting point of translation and dissemination of those lyric gems in China and abroad. It is like two branches diverging from the trunk of a river, giving rise to different alluvial plains each with a landscape of its own.By the end of2012, four score and two years have passed since Tsangsyangs Gyatso Poems began its intercultural travel. These poems, which have aroused increasing attention from translators, have been rendered into numerous translated versions, including those Chinese ones in21books and English ones in15(according to incomplete statistics), gaining some international reputation. The first decade of the21st century witnessed the surge of a Tsangsyangs Gyatso fever in the Han-language culture dominant regions, boosting the flourishing development of Tsangsyangs Gyatso-themed movie and play making, publishing, culture and arts undertakings, and tourist industry, etc., canonizing him as a classical lyrist of China.The present study, taking the Chinese and English translations of Tsangsyangs Gyatso Poems as object of study, analyzes systematically the corpus of these translations and their dissemination in China and abroad, with emphasis on research regarding their translation routes; the derivation and reference relations between different translated versions; external factors exerting influence on their translation production such as ideology, poetics, patronage, and the development of Tibetan Studies at home and abroad; the spread, influence, reception in the Han culture and English culture; the characteristics of major translations and some related literary translation questions, as well as the comparative study between translations into Chinese and renditions into English of Tibetan poems in some linguistic aspects and metric schemes, on the basis of which more efforts are made to probe into some theoretical questions with regard to the poem translation phenomena involving re-translation, academic research-oriented translation, creation-oriented translation, etc., where the set theory is applied to analyzing the complicated relationship between poem translation and poem creation.This research shows that the disseminations of Tsangsyangs Gyatso Poems inside and out of China present different routes with different characteristics. Their translation into Chinese reflects the features of different historical stages of China’s social development, while that into English is associated to a great extent with the ecological landscape of Tibetan Studies abroad. All their existing translations can be divided into two major categories in terms of the dominant translating strategy, that is, academic research-oriented translation and creation-oriented translation, the former of which is favored by Tibetologist translators, and the latter, by poet translators. Given the fact that it is almost impossible to reach faithfulness and elegance completely in the same translation in literary translation in general and in poem translation in particular, creative translation and academic translation as two strategies can co-exist in different translations, supporting and supplementing each other to constitute an increasing full and complete interpretation of the source poems.The comparative analysis of Chinese re-translations and English re-translations of Tsangsyangs Gyatso Poems reveals some problems currently troubling these translation fields. As far as the Chinese translations are concerned, many translations’ lack in characteristics compared with their previous versions, some translators’ inadequate consciousness of copyrights, incompetence due to weak preparations for translating, especially ignorance in the Tibetan language acquiring, and little critical efforts are shown. By contrast, translations into English are characterized by more expertise, more based on achievements in Tibetan Studies abroad. Most of them are translated directly from the Tibetan texts. Even those rendered indirectly display distinctive characteristics. By comparing Tibetan, Chinese, and English in such linguistic aspects as syllable and intonation and their respective features of such poetic aspects as rhyming scheme, rhythm, and form, it is found that there are more linguistic and poetic similarities between the Chinese poems and their Tibetan counterparts than those between the English ones and the Tibetan ones. Though the rhyming, rhythm, phonetics of the original poems are regarded as basically untranslatable, those more similarities between the Chinese and Tibetan texts bring about closer formal resemblance between the two sides, and meanwhile make it naturally easier to meet the requirement of poetic norms, much facilitating reception of readers on one side to texts on the other in new contexts.This study takes the lead in introducing the set theory into translation studies, giving it a broader application, and tries to set up a theoretical perspective into explaining the phenomena of the Chinese and English translations of Tsangsyangs Gyatso Poems and even the universal phenomena of translation. Synchronically, from strict academic research-oriented translations to extreme creation-oriented translations, the dividing line between translation and creation becomes less visible, with the target text as inter-textual text of the source text shifting to as far derived text. As a matter of fact, word-for-word translations, academic research-oriented translations, creation-oriented translations and critical-point translations constitute a continuum ranging from one end to the other, assuming the gradient relationship between them. In the large space between the two ends of the continuum ranging from the strict word-for-word translation at one end and the critical-point translation at the other exist translations, which are academic research-oriented translations and creation-oriented translations, blending the two in varying degrees, representing two kinds of poem translation strategies. This dissertation in its conclusion points out that the word-for-word translation and academic research-oriented translation are marked by monotonousness, the creation-oriented translation and the critical-point translation by richness, of which the last two are more compatible with the spiritual temperament and cultural inclination of the post-modern society aiming at activating infinite possibilities at the critical point of survival and languages.更多还原