當四川外國語大學教授胡安江質疑西方世界翻譯中國文學，究竟是翻譯“文學”，還是翻 譯“中國”時，他實際上要闡明的一個基本事(shì)實是，文學翻譯并不隻是一個簡單的文學問題，也不是一 個隻要跨越語言障礙就(jiù)能(néng)解決的問題，而是一個同時受制于文學之外諸多因素影響的綜合問題。
When the Sichuan foreign language university professor Hu Anjiang questioned the western world China translation literature, what is the translation of "Literature", or "Chinese translation", a basic fact that he actually wants to clarify is that literary translation is not only a simple literature is not a problem, as long as the across language barriers can solve the problem, comprehensive but a while subject to many factors besides literature. 胡安江是在日前于上海師範大學舉行的“首屆外國文學與文學翻譯研究新思路青年學者峰 會”上做這一表示的。在他看來，就(jiù)中譯外而言，在語言的表象之外，深藏的是各類贊助人體系與各種 利益之間的互動與博弈。“西方文學系統内外的專業人士、各類贊助人，以及主流意識形态、主流詩學 、權力勢差、文化失衡等多種因素，在很大程度上操縱著(zhe)西方讀者閱讀中國現當代文學的興趣。” Hu Anjiang is doing this at the Shanghai Normal University said in the day before at the first foreign literature and literary translation of new ideas for young scholars summit. In his view, in Chinese and foreign translation, in the appearance of language, what is hidden is the interaction and game between various patronage systems and various interests. "Outside the western literary system professionals, all kinds of patronage, a variety of factors and the mainstream ideology and poetics, the power of potential difference, cultural imbalance and so on, to a great extent the manipulation of Chinese reading of contemporary literature of Western readers interest." 由此，我們不難理解何以如胡安江所言，海外的商業出版社在選擇翻譯中國現當代文學作 品時，總是青睐那些在他們看來能(néng)反映中國現實的作品；何以從傳播與接受的現實考慮與市場推廣出發 ，英語世界總是有意識地發掘并放大符合西方主流文學傳統的“寓言反諷”和“倫理寫作”等叙事(shì)手法 。“他們那麽做，顯然是在以種種‘變形記’，拉近中國文學與西方讀者之間的審美距離。” Thus, it is not difficult to understand why such as Hu Anjiang said, the overseas commercial publishing house in the works of modern and contemporary literature translation Chinese, always in favor of those in their opinion can reflect the reality of the work Chinese; why spread from reality and consider accepting and marketing of the English world always consciously explore and enlarge the traditional the fable "irony" of western mainstream literature and "ethical narrative writing" etc.. "They did that, obviously, in order to narrow the aesthetic distance between Chinese literature and Western readers." 這在某種意義上也因爲，如胡安江所說，因爲曆史原因形成(chéng)的，根深蒂固的對中國的誤解 與偏見，使得西方讀者比較依賴中國文學作爲了解中國的文獻資料，從而對文學做“政治化”與“倫理 化”的解讀。“也因爲此，如何讓中國文學在外譯過程中回歸文學的‘正途’，或許是我們在文學‘走 出去’進程中需要認真思考的重大理論問題之一。” This is in some sense because, as Hu Anjiang said, because of historical reasons, misunderstanding and prejudice to the Chinese ingrained, makes the Western readers understand Chinese China depend more on the literature as literature, interpretation and "political" and "ethics" in literature. "Because of this, how to make China literature in translation process regression literature 'way', perhaps we in the literature of" going out "in the process of one of the major theoretical issues need to consider carefully." 目前最需要努力的是，培養西方世界對中國文學的興趣 What is most needed now is to cultivate interest in Chinese literature in the western world 話雖如此，目前西方世界對中國文學的了解，就(jiù)如美國漢學家桑禀華坦承的那樣，在美國 提到中國作家，連美國知識分子可能(néng)也隻知道(dào)一兩個人，比如莫言。“紙托邦”（paper Republic）創 始人、美國翻譯家阿布漢森則表示，雖然中國人非常急迫地向(xiàng)外推廣本土文學，但海外從出版社、媒體 、學者到普通讀者，大部分讀者對于中國文學一無所知。“這不是抵制，也不是不喜歡，就(jiù)是一個空白 。” Nevertheless, at present the western world of literature China understanding, as the intrinsic American Sinologist sang Hua admits that mentioned China writers in the United States, even the American intellectuals could only know that one or two people, such as Mo Yan. Paper "Utopia" (paper Republic), founder of the American translator Abrahamsen said, although Chinese very urgent to promote the native literature, but from the Overseas Press, media and scholars to ordinary readers, most readers for Chinese absolutely ignorant of literature. "This is neither a boycott nor a dislike. It is a blank." 問題是既然中國已經成(chéng)爲世界第二大經濟體，中國的綜合國力已經提升到了别國無法忽視 的程度，爲何西方世界并沒有急著(zhe)去填補這個空白？之所以有這樣的疑問，是因爲如胡安江所說，我們 忽視了一個基本的事(shì)實，那就(jiù)是一個國家的文學在世界文學多元系統中的地位，與其經濟地位改善與否 并沒有直接的關系。“拉美文學難道(dào)不是衆所周知的這方面(miàn)極其典型的反證嗎？” The problem is that since China has become the world's second largest economy, China's overall national strength has risen to the point where other countries can not afford to ignore it. Why does the west not rush to fill the gap? The reason for this question is because, as Hu Anjiang said, we ignore a basic fact, that is the position of a country in the world literature in the literary polysystem, improve its economic status or not and there is no direct relationship. Is Latin American literature not well-known and is it a typical rebuttal?" 實際上，正是基于改變經濟發展與文化影響力不對等的現象，中國多年來一直在加大推廣 中國文學、文化的力度。自上世紀五十年代以來，中國就(jiù)進行了一系列文學外譯活動，如“熊貓叢書” 等，但效果并不明顯。“西方世界對于中國文學的‘東方主義’凝視及其根深蒂固的‘歐洲中心主義’ 心态、以及西方媒體對于中國政治與中國曆史長期的片面(miàn)報道(dào)，使得中國文學在西方讀者眼裏，一直是 中國政治的‘附庸’。我們某些推廣，可能(néng)隻是強化了這種‘附庸’的印象。” In fact, based on the phenomenon of unequal economic development and cultural influence, China has been strengthening the promotion of Chinese literature and culture for many years. Since the 50s of last century, China has carried out a series of literature translation activities, such as "panda series", but the effect is not obvious. "The western world for China literature 'Orientalism' and 'gaze ingrained Eurocentric" mentality, as well as the western media for Chinese political and one-sided reports long-term Chinese history, the China literature in the eyes of the Western reader, has been China' political vassal. Some of our generalizations may only reinforce the impression of 'dependency'." 基于此，上海外國語大學教授謝天振表示，我們有必要擯棄“以我爲中心”的思想，學會 尊重和适應譯入語的文化語境。以他的理解，在文化外譯上，過多強調“互相尊重”、“平等交流”看 似有理，實際上并不可取。因爲文化外譯不同于對外宣傳。“在對外宣傳上，我們當然要掌握話語權。 但是文化外譯則不然，它首先不是要去争什麽‘話語權’，也不必把‘尊重’和‘平等’機械地數字化 ，以爲我翻譯了你一百本書，你也應該翻譯我同等數量的作品，或是在外譯上追求‘大而全’，而是培 育國外讀者對中國文化的興趣和愛好(hǎo)，進而逐步建立起(qǐ)他們對中國全面(miàn)、正确的認識。” Based on this, Professor Xie Tianzhen of Shanghai International Studies University said that it is necessary for us to abandon the idea of "taking me as the center" and learn to respect and adapt to the cultural context of the target language. In his understanding, in cultural translation, too much emphasis on "mutual respect" and "equal communication" seem reasonable, but in fact, it is not advisable. Because cultural translation is different from foreign propaganda. "In foreign propaganda, of course we should have the right to speak.". But the cultural translation is not, it is not the first to fight for what the "right to speak", also do not have to "respect" and "equality" mechanical digital, you think I translated one hundred books, you should also have the same number of translation works, or in the translation of the pursuit of "big and complete" but to cultivate foreign readers interested in Chinese culture and hobbies, and gradually establish a comprehensive and correct understanding of them on the China." 顯見的事(shì)實是，現階段，特别是在英語世界，還沒有形成(chéng)對外來文化、更不要說對中國文 化感興趣的一定數量的接受群體。在這樣的情況下，謝天振以爲，強調把最能(néng)代表中國文化精粹的典籍 翻譯出去，卻不顧對方是否喜歡，能(néng)否接受，這樣的文化外譯，不僅不能(néng)讓中國文學文化真正“走出去 ”，效果可能(néng)适得其反。 The obvious fact is that, at this stage, especially in the English speaking world, has not formed a certain amount interested in China cultural acceptance groups of foreign culture, not to. In this case, Xie Tianzhen thought, emphasize the most representative of the essence of China culture classics translation out, but regardless of whether the other party can accept, love, this kind of cultural translation, not only can not let China literature really go out, the effect may be counterproductive. 正因爲此，謝天振表示，目前我們最需要努力的是，培養西方世界對中國文學的興趣。問 題在于該怎樣激發這種興趣？謝天振認爲，不妨從明清之際西方傳教士在中國的傳教活動裏吸取有益的 經驗和教訓。“西方傳教士所做的其實也是一種文化外譯活動，雖然由于它的宗教背景，顯得比較特殊 。”他表示，當年傳教士來到中國，雖然是來傳教的，但首先奉上的不是福音書，而是自鳴鍾、望遠鏡 、三棱鏡、地圖等等。正是這些新奇的事(shì)物，引起(qǐ)了當時中國人的濃厚興趣。“事(shì)實上，他們在中國期 間撰寫出版的有關西方科學、文化方面(miàn)的書籍卻比直接與宗教有關的書籍要多得多，但與此同時，他們 傳播了宗教思想。” Because of this, Xie Tianzhen said, "what we need most to do is to cultivate interest in Chinese literature in the western world.". The question is how to stimulate this interest? Xie Tianzhen thought that it is possible to draw useful experience and lessons from the missionary activities of Western missionaries in China during the Ming and Qing dynasties. What western missionaries do is actually a kind of cultural translation activity, although it is very special because of its religious background." He said that when the missionaries came to Chinese, although is to preach, but first offer is not the gospel, but the bell, three prism, telescope, maps and so on. It was these strange things that aroused the interest of the Chinese people at that time. As a matter of fact, they wrote more books about western science and culture while they were in China than they were directly related to religion, but at the same time they spread religious ideas." 而以最近的例子，謝天振以爲可以從日本在文化推廣方面(miàn)的做法得到一些啓迪。“我有一 個朋友在美國加州某大學任東亞系主任，他看到美國孩子多去選擇讀日文，卻不來讀中文，好(hǎo)奇地問他 們爲什麽選擇讀日語？得到的回答是，他們從小看日本的動漫，現在長大了，想進一步了解日本的文化 。”謝天振由此意識到，動漫雖然算不上是日本文化的精粹，但從長遠看，恰是動漫培育了美國孩子對 日本文化的興趣與愛好(hǎo)，從而爲日本文化在美國的進一步譯介打下了基礎。 In the recent case, Xie Tianzhen thought he could get some enlightenment from Japan's promotion of culture. "I have a friend who is head of the Department of East Asia at a university in California, America. He sees American kids who choose to read Japanese, but instead of reading Chinese, they ask curiously why they choose to read Japanese." The answer is, they grew up watching Japanese anime, and now grow up, want to learn more about Japan's culture." Xie Tianzhen thus realized that although the animation is not the essence of Japanese culture, but in the long run, it is the cultivation of animation American children interest in Japanese culture and hobby, which lays the foundation for further translation of Japanese culture in the United states. 好(hǎo)的翻譯應該不是“翻譯”，而是“原創” Good translation should not be "translation", but "originality" 當然，引發興趣有一個需要長期付諸努力的，潤物細無聲的過程。這并不意味著(zhe)，在引發 西方世界對中國文學的興趣之前，翻譯就(jiù)無所作爲。恰恰相反，這應該是同步進行的事(shì)情。問題隻在于 ，怎樣讓翻譯做到行之有效？ Of course, arousing interest has a long, silent process that requires long-term effort. This does not mean that translation will do nothing until the interest of Chinese literature is aroused in the western world. On the contrary, it should be a simultaneous thing. The question is how to make translation effective 正如胡安江所說，在翻譯行爲所指向(xiàng)的“策略抉擇”方面(miàn)，擺在翻譯者面(miàn)前，曆來有“異 化”和“歸化”兩種選擇。從民族感情和本國人民的接受度來看，“異化”看似更理想的選擇。從我國 目前的中譯外來看，我們也的确更多走了“異化”翻譯的路。“我們抱著(zhe)‘忠實’與‘充分性’的美好(hǎo) ‘譯’願，緻力于傳播‘原汁原味’的‘中國聲音’。但‘譯’願歸‘譯’願，效果卻是不如人意的。 ” As Hu Anjiang said, in terms of the "strategic choice" in translation, there are two choices of "Foreignization" and "domestication" in front of the translator. From the perspective of national feelings and the acceptance of their own people, "alienation" seems to be a better choice. As far as China is concerned, it is true that we have taken a "foreignizing" approach to translation. "We hold the" good faith "and the" full "of the good translation, willing to spread the" original flavor "of the" Chinese voice ". But the translation is willing to be translated, but the effect is not satisfactory." 有了這樣的對照，在胡安江看來，那種關注目标讀者“可接受性”、縮短對象國受衆與翻 譯文本心理距離的“本土化”的歸化翻譯，即所謂“用目标讀者聽得懂的語言來講述本國故事(shì)”的策略 ，才是文化外譯之首選。胡安江舉例表示，即使是美國學者勞倫斯·韋努蒂那樣的“異化派”鬥士，也 不得不承認：絕大多數出版商、書評者和讀者認可的譯本，無論是詩歌還是散文，小說還是非虛構，都(dōu) 是那些讀起(qǐ)來流暢的文本。換言之，好(hǎo)的翻譯應該不是“翻譯”，而是“原創”。 With this control, in Hu Anjiang's view, the kind of attention to the target readers "acceptability", target audience and shorten the psychological distance of the translated text "localization" of translation, the so-called "with the target readers understand the language to tell their story" strategy, culture translation is preferred. For example, Hu Anjiang said that even if the United States scholars like Lawrence Venuti "Foreignization" fighter, had to admit: the vast majority of publishers, book reviewers and readers recognized versions, whether poetry or prose, fiction or non fiction, are those who read the text fluently. In other words, a good translation should not be "translation", but "originality"". 以胡安江的理解，韋努蒂之所以得出這樣的結論，是因爲無論哪國文學“走出去”的初衷 與所指向(xiàng)的讀者群體，毫無疑問是普羅大衆讀者，而不隻是那些將(jiāng)翻譯文本當作“翻譯”而不是“原創 ”來讀的“精英讀者”。“以創建于1935年的企鵝出版集團爲例，近百年來，他們爲世界各地的讀者出 版了無數的‘企鵝經典’。按照其創始人之一的裏歐的說法，他們的譯叢就(jiù)是要努力地‘用現代英語爲 普通讀者呈現可讀性強而且引人入勝的偉大譯本’，正是在這樣的指導原則下，企鵝叢書和企鵝譯叢都(dōu) 將(jiāng)‘流暢’作爲自己的編輯政策與翻譯政策。” To Hu Anjiang, Venuti is the conclusion that, because no matter which country's original literature "going out" and points to the readers, there is no doubt that the masses of readers, not just those who will translate the text as "translation" instead of "original" to read "elite readers". "For example, Penguin Group, founded in 1935, has published countless Penguin Classics for readers all over the world over the last 100 years. According to one of its founder Li Ou said, their translations is to try to "in modern English for ordinary readers readable and attractive versions, it is great" in this principle, Penguin Books and Penguin translations will be "smooth" as their editorial policy and translation policy." 這并不難理解，上世紀初嚴複、林纾等人翻譯西方學術論著和文學作品，就(jiù)選擇了“歸化 ”策略，并注重當時的中國讀者能(néng)“流暢”閱讀。謝天振表示，他們不僅對很多作品做了大量删改，甚 至還把有的小說“改譯”成(chéng)了中國傳統的章回體小說。“然而中國讀者正是讀著(zhe)嚴複、林纾以及他們的 後來者翻譯的作品，一步步走到了今天。回想一下，經過了多麽漫長的時間，我們才得以讓手中捧讀的 翻譯作品，從當初的删節本變成(chéng)了今天的‘全譯本’和某某外國作家的‘全集’。” This is not difficult to understand. At the beginning of last century, Yan Fu, Lin Shu and others translated the western academic works and literary works, and chose the "domestication" strategy, and the Chinese readers at that time were able to read fluently. Xie Tianzhen said, they not only a lot of works done a lot of pruning, and even had some novel "translations" has become a Chinese traditional historical novel. Chinese readers, however, are reading the works of Yan Fu, Lin Shu, and their successors, and they are coming to this stage step by step. Recall that after such a long time, we can let the hand picked up the translation from the original abridged edition became today's "complete translation" and "complete" certain foreign writers." 也是在這個意義上，謝天振表示，面(miàn)對當今世界、包括英語世界對中國文學、文化的譯介 中存在的某些“連譯帶改”、甚至一些“誤譯”和“曲解”等現象，我們不必大驚小怪，因爲文化交流 需要一個過程。“嚴複當年翻譯《天演論》，一開頭就(jiù)把原文的第一人稱改成(chéng)了中國讀者習慣的第三人 稱。他還把原作的後半部分全都(dōu)删節掉了，我們會因此就(jiù)質疑他當初這樣‘翻譯’外國作品，是對中國 讀者的‘曲意奉迎’嗎？很簡單，他隻是爲了讓譯本便于中文讀者接受罷了。” Also in this sense, Xie Tianzhen said, in the face of the world, including the world of English Chinese literary and cultural translation in the presence of certain "even with translation", and even some "mistranslation" and "misunderstanding" phenomenon, we do not have to because the cultural exchanges need to get excited over a little thing, a process. "Yan Fu's translation of" evolution and ethics ", at the beginning of the original first person to the third person Chinese habits of readers. He is also the last part of the original all cut off, so we will have questioned whether he had such "translate" the foreign works of China readers "fawn on"? Quite simply, he just wanted to make the translation easier for Chinese readers to accept." 在翻譯研究上，我們要有充分的文化自覺 In translation studies, we should have adequate cultural awareness 不能(néng)不指出的一個基本事(shì)實是，我們之所以自然而然地傾向(xiàng)于“異化”翻譯，也未必隻是 民族感情使然，而在某種程度上是因爲追本溯源，如謝天振所說，我們對某些翻譯理念的理解存在一定 的偏差。 A basic fact can not point out, we are naturally inclined to "Foreignization", not only the national feeling of nature, and to some extent because of it, as Xie Tianzhen said, our understanding of some translation theory has certain deviation. 即以嚴複提出的，被(bèi)後世封爲翻譯必須遵循的金科玉律的“信達雅”思想而論，謝天振表 示，這一百多年來國内翻譯界環繞其展開的闡釋，大部分都(dōu)是對嚴複所說的本意的誤解、誤釋、誤讀。 “因爲許許多多的闡釋，我們都(dōu)約定俗成(chéng)地認爲，翻譯先要‘信’後要‘達’再要‘雅’。然後說，‘ 信’是忠實于原文，‘達’是譯文要明白曉暢，‘雅’是指文字優雅。但如果我們認真讀《天演論》的 序言，我們可以看出，嚴複把‘達’放在了最重要的位置。因爲，你的文字有了‘信’，如果不能(néng)“達 ”，那麽從效果上講，你即使翻譯了也跟沒翻譯一樣。”而所謂“達”，在謝天振看來，就(jiù)是要讓譯者 的譯本，以最佳的形式，在譯入語境裏面(miàn)得到接受、得到傳播、産生影響。“這是‘達’的本意，也是 翻譯的本質。” That is proposed by Yan Fu, was closed for the later translation must follow the golden laws and precious rules "thought in XinDa," Xie Tianzhen said that in more than 100 years the Chinese translation circle around the interpretation of the most is Yan Fu's intention of misunderstanding, misinterpretation and misunderstanding. "Because of many interpretations, we all believe that translation requires" faithfulness "and" expressiveness "and" elegance ". Then said, "trust" is faithful to the original "expressiveness" is the translation to understand, "elegance" refers to the elegant words. But if we read the preface of "Tianyan", we can see that Yan Fu 'up' on the most important position. Because your words have "letter", if not "Da", then from the effect of speaking, you even translation, and no translation." The so-called "Da", in Xie Tianzhen's view, is to let the translator's translation in the best form, in the context of translation received, spread, and have an impact. "This is the meaning of" Da "and also the essence of translation." 正是在這個意義上，上海師範大學教授鄭克魯強調，雖然翻譯研究不能(néng)替代翻譯實踐，但 翻譯研究依然是很有必要的，因爲對翻譯會有一定的指導作用。同時如上海師範大學教授朱振武所說， 在翻譯研究上，我們要有充分的文化自覺。“我們要在學習吸納一切世界文化的基礎上，打造自己的翻 譯理論，而不是過度依賴甚至套用西方文論，讓自己處于嚴重失語狀态。” It is in this sense, Shanghai Normal University professor Zheng Kelu stressed that although translation studies cannot replace the practice of translation, but translation studies is still very necessary, because there will be a guiding role in translation. At the same time, as Zhu Zhenwu, a professor at Shanghai Normal University, said, "in translation studies, we should have full cultural awareness.". "We should build up our own translation theories on the basis of learning and absorbing all the world cultures, rather than relying too heavily on Western literary theories to keep ourselves in a state of serious aphasia." 而基于當下中國文化、文學翻譯現狀，上海外國語大學教授查明建倡言，我們更需要從譯 入語文化角度來看翻譯問題。“因爲翻譯涉及了太多帶有複雜性的問題，它不隻是簡單的語言轉換，而 是對原文某種程度上的改寫，而所有的改寫，都(dōu)是出于意識形态的，文學的，或其他方面(miàn)的意圖的改寫 。以此看，翻譯更是一種國家行爲，一種共同體行爲，它同時還是一種審美行爲、經濟行爲，等 等。” While the current Chinese culture, based on the status quo of literary translation, Shanghai International Studies University professor Cha Mingjian proposed that we need more translating problems from the angle of view of target language culture. "Because translation involves too much with the complexity of the problem, it is not just a simple language conversion, but to rewrite the text to a certain extent, and all rewritings, are out of ideology, literature, or other aspects of the intention of rewriting. In view of this, translation is a kind of state behavior, a community behavior, and it is also an aesthetic behavior, economic behavior, and so on." 這在某種意義上提示我們不宜離開具體的文化語境來談論翻譯問題。仿如我國翻譯西方文 學走了從“歸化”到“異化”的過程，西方世界翻譯中國文學，也不可避免地會經曆從翻譯“中國”最 終到翻譯“文學”的過程，隻有通過長期艱苦而卓有成(chéng)效的努力，中國文學在外譯過程中，才會真正回 歸文學的“正途”。 In a sense, it suggests that we should not leave the specific cultural context to talk about translation problems. I like Chinese translation of Western literature came from "domestication" to "alienation" of the process, the western world China translation literature, inevitably will experience from "Chinese" to the final translation process of translation "Literature", and very fruitful only through arduous efforts, Chinese literature in translation process, the way will really the return of literature "".
