毕罗《书谱》译本中书法典故的深度翻译
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摘要
以深度翻译为视角,以意大利汉学家毕罗《书谱》英译本为例,探讨书论典籍中书法典故的翻译。分析表明,毕罗根据典故所处的原文语境、历史语境、读者认知语境等对其中人物历史身份、典故情节、文化寓意等或采取在正文中增译文化信息的隐性深度翻译,或采取正文外注释及评注的显性深度翻译,对中国书法文化进行了深度阐释,尽管也偶有不当之处,毕译书法典故无疑为书法典籍中典故的翻译提供了重要参照。
From the perspective of thick translation, and with Pietro De Laurentis' s English version of Shu pu(《书谱》) as the case, the paper discusses the translation of calligraphic allusions in calligraphic classics. The analysis shows that Pietro De Laurentis, checking against the textual context, historical context and the cognitive context of the target readers in which the allusions under discussion are employed, takes either implicit thick translation strategy which is characterized by employing the technique of amplification in the target text, or explicit thick translation strategy by adding annotations or glosses for detailed explanation of the historical figures, the stories and the cultural meanings embodied in the allusions. Pietro De Laurentis' s thick translation of calligraphic allusions can be taken as reference for translating calligraphic allusions in calligraphic classics although there is still some room for improvement.
From the perspective of thick translation, and with Pietro De Laurentis' s English version of Shu pu(《书谱》) as the case, the paper discusses the translation of calligraphic allusions in calligraphic classics. The analysis shows that Pietro De Laurentis, checking against the textual context, historical context and the cognitive context of the target readers in which the allusions under discussion are employed, takes either implicit thick translation strategy which is characterized by employing the technique of amplification in the target text, or explicit thick translation strategy by adding annotations or glosses for detailed explanation of the historical figures, the stories and the cultural meanings embodied in the allusions. Pietro De Laurentis' s thick translation of calligraphic allusions can be taken as reference for translating calligraphic allusions in calligraphic classics although there is still some room for improvement.
引文
[1]吕立超.书法相关文本英译的符号意义再现:以孙大雨译《书谱》为例[D].北京:北京外国语大学,2013.
[2]刘彦仕.中国古代书法理论文本翻译探析:以《书谱》英译本为例[J].中华文化论坛,2017(3).
[3]何苗.文化翻译观视域下的书法理论英译探析——以《书谱》英译本为例[D].西安:西北大学,2016.
[4] Appiah K,“Thick Translation”. The Translation Studies Reader[M].New York:Routledge,2000:417-429.
[5] Hermans.Theo,Cross-cultural Translation Studies as Thick Translation[J].Bulletin of the School of Oriental and African Studies,2003,66(3):380-389.
[6]周领顺,强卉.“厚译”究竟有多厚?——西方翻译理论批评与反思之一[J].外语与外语教学,2016(6).
[7]李雁.《红楼梦》法译本的“深度翻译”及其文化传递[J].外语教学与研究,2014(4).
[8]曹明伦.当令易晓,勿失厥义——谈隐性深度翻译的实用性[J].中国翻译,2014(3).
[9] Pietro De Laurentis. The Manual of Calligraphy by Sun Guoting of The Tang:A Comprehensive Study on the Manuscript and Its Author[M].Rome:Herder International Book Centre,2011:42.
[10]陈振濂.线条的世界:中国书法文化史[M].杭州:浙江大学出版社,2002.
[11]孙大雨.古诗文英译集[M].上海:上海外语教育出版社,1997:79.
[12]刘宓庆.文化翻译论纲[M].武汉:湖北教育出版社,1999:273.
[13]周领顺,强卉.“厚译”究竟有多厚?——西方翻译理论批评与反思之一[J].外语与外语教学,2016(6):106.
[2]刘彦仕.中国古代书法理论文本翻译探析:以《书谱》英译本为例[J].中华文化论坛,2017(3).
[3]何苗.文化翻译观视域下的书法理论英译探析——以《书谱》英译本为例[D].西安:西北大学,2016.
[4] Appiah K,“Thick Translation”. The Translation Studies Reader[M].New York:Routledge,2000:417-429.
[5] Hermans.Theo,Cross-cultural Translation Studies as Thick Translation[J].Bulletin of the School of Oriental and African Studies,2003,66(3):380-389.
[6]周领顺,强卉.“厚译”究竟有多厚?——西方翻译理论批评与反思之一[J].外语与外语教学,2016(6).
[7]李雁.《红楼梦》法译本的“深度翻译”及其文化传递[J].外语教学与研究,2014(4).
[8]曹明伦.当令易晓,勿失厥义——谈隐性深度翻译的实用性[J].中国翻译,2014(3).
[9] Pietro De Laurentis. The Manual of Calligraphy by Sun Guoting of The Tang:A Comprehensive Study on the Manuscript and Its Author[M].Rome:Herder International Book Centre,2011:42.
[10]陈振濂.线条的世界:中国书法文化史[M].杭州:浙江大学出版社,2002.
[11]孙大雨.古诗文英译集[M].上海:上海外语教育出版社,1997:79.
[12]刘宓庆.文化翻译论纲[M].武汉:湖北教育出版社,1999:273.
[13]周领顺,强卉.“厚译”究竟有多厚?——西方翻译理论批评与反思之一[J].外语与外语教学,2016(6):106.