九歌英译张卫(最终稿)

1、本科生毕业论文（2016届）外国语学院题目论译者视角下楚辞九歌英译本的对比研究以阿瑟韦利和孙大雨译本为例学0号：201210010410姓名：张卫专业班级：英语124指导教师：黄生太职称：讲师2016年4月24日OntheComparisonoftheEnglishVersionsofJiuGefromthePerspectiveoftheTranslatorsSubjectivityPapersubmittedtotheEnglishDepartmentofZhejiangAgriculture&ForestryUniversityinPartialFulfillmentoftheRequi

2、rementsfortheDegreeofBachelorofArtsBy张卫English124Supervisedby黄生太April24,2016本科生毕业论文诚信承诺书我谨在此承诺：本人所写的毕业论文论主体性视角下楚辞九歌英译本的对比研究一一以阿瑟韦利和孙大雨译本为例是在导师的指导下，由本人独立完成，其中凡涉及其他作者的观点及材料，均已注明，若有不实，后果由本人承担。承诺人（签名）：张卫2016年4月24日 摘要我国第一部浪漫主义诗歌总集楚辞开创了我国积极浪漫主义创作的源头，在中国史诗上占有重要地位。自19世纪以来，楚辞英译吸引了国内外学者的广泛关注，但翻译界对楚辞的英译研究大都集中在

3、离骚上，九歌英译方面的研究却是凤毛麟角。九歌虽被翻译成多种英译本，但各版本之间的差异颇大，故本文旨在以阿瑟韦利和孙大雨九歌英译本为例，从译者主体性视角下探究英译本存在差异的因素。译者因为自身文化立场，翻译动机以及美学观点的不同,比如说阿瑟韦利和孙大雨由于自身所接受的文化不同，在翻译过程中阿瑟韦利面向普通大众，其译本通俗易懂，而孙大雨面向知识分子，故译本语言更为精炼优美。故笔者旨在通过两译本在意义重组翻译，特殊文化意义词的翻译，比如说植物，神话意象的翻译，译本翻译风格以及所采取的翻译策略等方面的不同之处，探究译者自身文化立场，翻译动机以及美学观点在对翻译诗歌的影响。关键词:译者主体性；九歌英译；

4、对比研究AbstractChuCi,thefirstcollectionofromanticpoemsinChineseliterary,hascreatedthebeginningoftheromanticisminChina,whichholdanimportantroleintheChinesePoetry.ChuCihasattractedtheextensivescholarsfromhomeandabroadsince19thcentury,however,thegreatattentionhasbeenputonthestudyofLiSao,andfewscholarshave

5、beeninterestedinthestudyofJiuGe.Infact,therearesomeEnglishversionsthroughyears,butgreatdifferenceofthoseversionsisanothertoughproblem.ThisthesisintendstoexploretheoriginofthedifferenceoftheEnglishversionsfromtheperspectiveofthetranslatorssubjectivity.Englishversionsshowdifferencebecauseofthedisparit

6、iesoftranslatorsculturalattitude,motivationoftranslation,aestheticinclination.Forexample,themaintargetreadersofWaleyarecommonpeoplewithsimpleandeasily-understoodtranslationstyles,whileSunsreadersaremanoflettersthetranslationofwhichisbeautifulandelegant.Theauthoraimstoprobeintotheinfluenceoftranslato

7、rsculturalattitude,motivationoftranslation,aestheticinclinationinthetranslationthroughtheanalysisofthereproductionofmeaning,translationofcultural-loadeditemsinJiuGelikethetranslationofplantnamesandMythologicalImage,andtranslationstyleaswellastranslationstrategies.Keywords:TranslatorsSubjectivity；Eng

8、lishTranslationofJiuGe;ComparativeStudyContentsTOC o 1-5 h z HYPERLINK l bookmark12 o Current Document Introduction1 HYPERLINK l bookmark20 o Current Document LiteratureReview2 HYPERLINK l bookmark22 o Current Document TheBriefSurveyoftheEnglishVersionofJiuGe2TranslatorsSubjectivityandthePresentence

9、intwoEnglis4hVersions HYPERLINK l bookmark28 o Current Document TranslatorsSubjectivity4 HYPERLINK l bookmark30 o Current Document TheSubjectofTranslation4 HYPERLINK l bookmark32 o Current Document 3.1.2DefinitionoftheTranslatorsSubjectivity5 HYPERLINK l bookmark34 o Current Document TranslatorsSubj

10、ectivityinTwoEnglishVersions5CulturalAttitude HYPERLINK l bookmark36 o Current Document Motivationoftranslation7 HYPERLINK l bookmark38 o Current Document AestheticInclination7 HYPERLINK l bookmark40 o Current Document ComparisononEnglishVersionsofJiuGe8ReproductionofMeaning8 HYPERLINK l bookmark42

11、o Current Document TranslationofSomeCultural-loadedItemsinJiuGe9 HYPERLINK l bookmark44 o Current Document TranslationofPlantNames9 HYPERLINK l bookmark46 o Current Document TranslationofMythologicalImage104.3TranslationStyle12 HYPERLINK l bookmark48 o Current Document TranslationStylesinTwoEnglishV

12、ersions12 HYPERLINK l bookmark50 o Current Document TheChoiceofWords1314144.4TranslationStrategiesConclusionBibliography1516Acknowledgements浙江农林大学本科生毕业论文 IntroductionResearchObjectivesChuCi,theresourceofChineseromanticpoetry,issaidtobetheearliestcollectionsofromanticpoemshasanirreplaceablepositionin

13、Chineseliterature.Moreover,ChuCihascreatedtheromantictraditionoftheChineseclassicalworksthroughitsextravagantdiction,fantasticimaginationaswellasviolentemotions.Therefore,ithasbeenofvitalsignificancetoChinesepoetry.Andsomethingworthmentioningisthepatriotisminthework,whichisperhapsonereasontobeenduri

14、ngandlastingintheChinesehistory.Intheearly19thcentury,thepublicationoftheEnglishtranslationofLiSaoinTheChinaReviewhasarousedgreatinterestsamongscholarsathomeandabroad,givingrisetoaboomingtendencyforstudyingtheChineseculture,particularlytheclassicalpoetry.However,themainattentionisputontheEnglishtran

15、slationofLiSaoratherthanJiuGe,eventhoughtherearemanyEnglishversionsofLiSao,theycannotbeoptimal,becausetherearemanymistranslations.Butinanycase,themistranslationisunderstandableduetotheapparentdistinctionsamongtranslations,suchastheirculturalbackground,motivationfortranslation,aestheticinclination,ev

16、entheinfluenceofreligionandsoon.Furthermore,weallknowthatJiuGeisakindofpoemfullofimagesandsymbolizationwithabundantlybutobscurelyculturalmeanings.Therefore,translatorsarepronetodealwiththose“troubles”ontheirownway,thatswhatwecalledthetranslatorssubjectivity.Allthatmakesithardtotranslatethoseclassics

17、correctlyandaccurately.ThispaperaimstoprobeintotheinfluenceofthetranslatorssubjectivityonthetranslationthroughthecomparisonofthetwoEnglishversionsofJiuGe.ThestudywillprovidesomeusefulandbeneficialadvicetotheEnglishtranslationofclassicalworksandalsobehelpfultothespreadoftheChineseculture,whichprovide

18、sanopportunitytoshowtheworldtheextensivenessoftraditionalculture.SoIchoosetwosignificantlydifferentversionsofSunDayuandArthurWaley,servingthethoroughstudy.ThePoetandJiuGeDefinitelyQuYuanisamongthegreatestofChinesepoets,buthisdeathisrememberedmorethanhislife,andhissufferingsarerememberedmorethanhisra

19、remomentsofhappiness(RobertPayne,1945:78).QuYuan,whowasbornin340BCanddiedin278BCattheageof62,isapatrioticpoetoftheWarringStatesperiod.AstheministerofKingHuaiofChu,thetitleofwhichwasthe“ministerofpatriarchalaffairs”（“三闾大夫”）.Althoughhewasamemberoftheroyal,hedidntrealizehisaspirationandambitioninpoliti

20、csduetothejealousyaswellastheconspiracyoftreacherouscourtofficials.Totheend,hechosetodrownhimselfintheMiluoRiver,afterthat,theDragonBoatFestivalwasestablishedtocommemoratehimwithactivitiesofeatingTzungTzu,holdingdragonboatrace,drinkingrealgarwineandsoon.Althoughfailedinpolitics,QuYuanreceivedgreatfa

21、meandreputationinChineseliteraryhistoryasagreatpoet,whomadetremendouscontributiontoChinesepoetry.Theworld-renownedmasterpieceofQuYuanisLiSao,whichhasattractedgreatattentionofpeopleinterestedintheChinesepoems.BesidesLiSao,healsohadotherwell-knownworkssuchasJiuGe（九歌）,TianWen（天问）,JiuZhang（九章）andsoon.Ji

22、uGewasoneworkofQuYuansrevisedversionoffolksongsforofferingsomesacrificestogods,consistingof11poemsofDongHuangTaiYi（东皇太一），YunZhongJun（云中君），XiangJun（湘君），XiangFuRen湘夫人）,DaSiMing大司命）,ShaoSiMing（少司命）,DongJun（东君）,HeBo（河伯）,ShanGui（山鬼），GuoShang（国殇，LiHun（礼魂）respectively.GuoShangwaswrittentomournandsingfortho

23、sesoldiers,otherstendedtoexpresshisdeepthoughtandsentimentalitythroughthelovestoryofgods.WangYioftheEasternHanDynastybelievedthatQuYuancreatedJiuGetoexpresshissufferingsinpoliticswhenhewasexpelledfromChukingdom.TheworksofQuYuanhavebeenwidelyreadandappreciated,evenintoday,notonlyadmiringforthepoembut

24、alsothepatriotismofQuYuaninit.Itswellacknowledgedthatapoemwithoutsincerefeelingscannotbeagoodpoem.1.3ResearchMethodologyThispaperwilladoptthecomparativemethodtoanalyzethedifferencesoftwoEnglishversionsofJiuGe.Inordertomakethecomparativeresultmorecomprehensiveandconvincing,Iwillusesomediagrams,inthis

25、way,thespecificfeaturesoftwoversionsmightbemoredistinctandapparent.Therefore,wemayfindtheinfluenceofthetranslatorssubjectivitythroughthosedifferencesintwoEnglishtranslations.LiteratureReviewTheBriefSurveyoftheEnglishVersionofJiuGeManywesternscholarshavearousedgreatinterestsinthetranslationofJiuGelik

26、eArthurWaley,DavidHawkes,E.H.Parks,andJ.Legge,E.Erkesandsoon.E.H.ParkerpublishedhisEnglishtranslationofLiSaoin1879inChinaReview,whichhasmadeLiSaoknownbythewest.AndprofessorDavidHawkesofOxfordsaid,“Itisreallymoreaparaphrasethanatranslation,anditsbouncingVictorianversecouldhavebeenwrittenbyacleverscho

27、olboy(DavidHawkes,1957:215).Honestlyspeaking,itisunderstandableaboutDavidscomments,becausetraditionalChineseculturewastotallynewtothewestatthattime,andfewpeoplehaveaccesstolearnit.Alltheycandoistotranslateitwiththeirownunderstanding;therefore,therearesomemistakesinthetranslationprocess.In1895,JamesL

28、eggepublishedTheLiSaoPoemsandItsAuthoronJournalAsiaticSociety.HawkeshassaidthathistranslationisalittleaccuratethanParkers,andtheJamesspurposeoftranslatingthisworkisthatLiSaoisdeemedansignificantliteraryworkintheChinesehistory.Soitmaybebeautifulinformbutwithouttheenthusiasminvolvedinthepoem.(DavidHaw

29、kes,1957:215)AnotherGermanScholar,E.Erkes,translatedtheGreatRequieminAsiaMajorin1923,whichwastotallyliteraltranslation,thentheGreatLordofFateandTheYoungGoddessofFateintheGodofDeathinAncientChinain1939.Hawkesremarkshisliteraltranslationmakingreadingandunderstandingpainstakingandarduously,though,itpro

30、videsachanceforthewesttolearnsomethingaboutChineseliterature.(DavidHawkes,1957:215)However,thingshavechangedsincethepublicationofWaleysessay,JiuGe:thestudyofShamanisminAncientChina,givingageneraldescriptionoftheChuKingdomfromthegeographicalconditionstosomeculturalimages.Andthenhetranslatedthetransla

31、tionofJiuGe,buttherestillisvagueinthetranslationofsomesentencesorwords.Afterthat,hispupil,DavidHawkes,continuedtostudytheChineseclassics,especiallyengagedinChuCi.In1959,ChuCi,TheSongsofTheSouth:AnAncientChineseAnthologybytheOxfordUniversity,whichwastranslatedaccordingtothe18chaptersofChuCilikeLiSao,

32、JiuGe,TianWen,allofwhichwascompiledbyWangYioftheEasternHanDynasty.Generallyspeaking,Davidstranslationissuccessfultosomeextentwiththeeffortsofsomanyexcellentscholars.Exceptthescholarsfromthewest,somedomestictranslatorsarenotwillingtolagbehindandtrytheirbesttobededicatedtothestudy.Forexample,LingWenqi

33、ngissaidtobethefirstChinesewhotranslatedChuCiin1920s,whileYangXianyiandhiswife,GladysYang,translatedLiSaoandOtherPoemsofQuYuanandpublishedin1953,whichwasseenasameaningfulmoment.Then,SunDayu,awell-knownChineseliteraturetranslator,translatedmostpoemsofChuCi,andhewasdevotedtoprobingintotheculturalaspec

34、tofChuCi,whichprovidedanaccesstothewesternreaderstolearntheorientalculture.Anotherscholar,XuYuanchong,translateChuCi,ElegiesoftheSouth（许渊冲,2009）,inthemeantime,heproposedhistranslationtheory,thetheoryofThreeBeauties,whichreallydidmattertothefieldoftranslation,tothedevelopmentofthetranslationtheoryres

35、earchers.Ofcourse,thereareothertranslatorslikeZhuoZhenying,TheVerseofChuCiwaspublishedin2006（卓振英,2006）.JustasIhavementionedbefore,ChuCigainedlessattentionandtherewerefewessaysorpapersonit,letalonethestudyaboutJiuGe.TranslatorsSubjectivityandthePresentenceintwoEnglishVersionsTranslatorsSubjectivityTr

36、anslationhasundergoneagreatchangesincetheemergenceofthe“culturalturn”in1970s,especiallytherapiddevelopmentofthetranslationtheoriessuchastheManipulationtheory,deconstructiontheoryandsoon,allofwhichprovidedasupportfortranslationstudy.However,theappearanceoftheculturalturnhasarousedscholarsinterestinth

37、edisparityoftheEnglishversionsbecauseofvariouscultures.Andanoteworthyfactorleadingtoculturaldisparitymustbethetranslatorwhoseculturalbackground,motivationfortranslationeventheirreligiousareofvitalimportanceinthetranslationprocess.Infact,thereisnoactivitywithoutpurpose,andtranslationisakindofactivity

38、,soithasitsownpurpose.（Hans-Venneer,1989:221-232）weareinspiredtocomprehendtranslationfromtheperspectiveofculture:anytranslationisdoneoutofacertainculturalpurpose.Tosomeextent,translatorswilltranslatethesourcetextbasedontheirculturalbackgroundwhichcanbeconsideredasakindnegotiationoftwocultures.TheSub

39、jectofTranslationInfact,whenwereferredtothequestion:whoisonearththesubjectinthetranslationprocess?Answerstothisquestionvariedgreatly.Nobodywhodealswiththeissueofsubjectivitycanelaboratehis/herviewswithoutdefiningthesubjectinthebeginning.（李德顺,1990:3）somebelievedthattranslatorwasthesubject,somethought

40、thattranslatorandauthorofthetargettextwere,whileothersarguedthattranslator,authorandreaderservedasthesubjectinthetranslationprocess.Asamatteroffact,YangZijiandrewthatconclusionthatthereareeightmainfactorsthatmustbedeemedastheobjectoftranslationstudies,namelytheobjectivityworld（nature,societyandthoug

41、ht）,theauthorofthesourcetext,thetranslator,thetranslationprocess,thetargettext,andthereaderofthetargettext（杨自俭,2002:11）.DefinitionoftheTranslatorsSubjectivityManyscholarstendtogiveaperfectdefinitiontothetranslatorssubjectivity,butnoconsensushasbeenreached.AndIquotesomeofthem,suchastranslatorssubject

42、ivityreferstothesubjectiveinitiativedisplayedbythetranslatorasthesubjectoftranslation,inordertofulfillhisorhertranslationpurposeundertheprerequisiteofrespectingthetranslationobject.Thebasicfeaturesofthesubjectivityaretheculturalconsciousness,personalcharacters,styles,andaestheticcreativityofthetrans

43、latorasthesubjectoftranslation（查明建&田雨,2003:22）.Theso-calledtranslatorssubjectivityisthetranslatorsconsciousawarenessofhis/herownpersonalityandcreativity.Theexistenceandstrengthofthetranslatorssubjectivityinfluencethewholetranslationprocessandthevalueoftheoutcomeoftranslation.Inouropinion,thecoreofth

44、etranslatorssubjectivityisthetranslatoraestheticpursuitandcreativity（许钧,2003:10）.Fromtheirdefinition,wecansaysomethingincommonisthattheyacknowledgethattranslatorsinitiativeandtheirculturalandpersonalawarenessaswellastheaestheticcreativity.However,initiativityandpassivityarethemainfactors.Thetranslat

45、orssubjectivefactorsarecomposedoftheirvalues,purpose,knowledge,bias,evenreligion,amongwhichtheirmotivationoftranslation,aestheticinclinationandculturalattitudeareofgreatimportance.Infact,theembodimentoftranslatorssubjectivityisnotonlyonthebasisoftranslationofthesourcetext,butalsooftheselectionofthes

46、ourcelanguage,thetranslationstrategiesadoptedandsoon.Inreferencetothepassivityoftranslatorssubjectivityincludingthefeaturesofthesourceandtargetlanguage,suchastheobjectivelaws,theoriginalculture,andthehistoricalbackground.TranslatorsSubjectivityinTwoEnglishVersionsJustaswehavementioned,translatorssub

47、jectivityarecomposedoftwofactorsofinitiativityandpassivity.Andtranslatorsculturalattitude,motivationoftranslation,aestheticinclinationisthethreemainfactorsthatIwillmakefurtherdiscussioninthefollowingparagraphs.Furthermore,thethreefactorsembodiedintheirtranslationversionswillbeinvolved.3.2.1CulturalA

48、ttitudeWangZuoliangthinksthatatranslatorshouldnotonlyhavebilingualknowledge,butalsobefamiliarwiththebilingualculture.TranslationisInterlinguatransformationofinformationonthesurface,butinterculturalconversationandcommunicationlookedfromdeep-seatedmeaning,languageisthecarrierofculture,whilecultureisth

49、econtentofalanguage.Asthesubjectbetweentwolanguages,atranslatorshouldunderstandthecultureofthetwolanguages.“Asfarasatrulysuccessfultranslationisconcerned,beingfamiliarwithtwokindsofcultureisevenmoreimportantthangraspingthetwokindsofcultureisevenmoreimportantthangraspingthetwolanguage,becauseonlyword

50、swillnotmakesensewithoutaculturalbackground”（郭建中,2000:315）.Sowecanseethattranslatorssubjectivityawarenesshasagreatpositioninthetranslation.However,translationisnotaprocessshiftingonecultureintoanotherone,whichisoftenrestrictedbythehistoricalconditionseitherlikepeoplesideology,patronageandpoeticsinth

51、emanipulationtheory,ortheimpactofcontextcomposedofpoliticalnormsandculturalnormsinthedescriptionandnormativetheory.Wecanseethatsometranslatorwillmoreorlessshowhisorherpoliticalandculturalinclinationinthetranslationcontext.Culturalattitudeisthemoststableculturedeposits,culturalpursuitsandculturalexpe

52、ctationsofthesocialindividualsindifferentculturalworlds.Translatorsshouldkeeptheirownculturalattitudes.Buttranslatorssubjectivitytendstorequiretranslatorstopromotecommunicationbetweendifferentculturaltraits,tointroduceandstudyforeignculture,toachievedeepunderstandingofitsoastopromoteourownculture（仲伟

53、合,周静,2006:43）ArthurWaley,themostoutstandingBritishsinologistinthe20thcentury,enjoysgreatreputationintheaspectsofChineseliterature,especiallyhisEnglishversionoftheBookofPoetryenjoysahighliteraryvaluewhichoverwhelmsthoseofJamesLeggeandBernhardKarlgren（洪涛，2008:57）.Hisexcellenttranslationworksbringtheor

54、ientalliteraturetothewesternworld,makingChineseliteratureinvolvedintowesternliterature,andhavingaprofoundandeverlastinginfluenceonsinologyinthewest.ArthurWaleywasfondoftheliteratureandlanguagestudyanddedicatedtothestudyoftheChineseliteratureinhiswholelife.Inhiscollege,heapproachedtheorientalculture,

55、andhadbeenattractedbytheprofoundChineseculture;therefore,heaimedtodevotehimselfintostudyingandspreadingorientalculture.Tosomeextent,hiscultureattitudehasgreatlydependedonhisdescentofGermanandAnglo-Jew.WeknowthatAnalectsisthemostrepresentativeworkofthetraditionalChineseculture,andArthurbringstheEngli

56、shversionintothewest,andachieveagreatimpactatthattimecomparedwithotherversions.InthetranslationoftheAnalects,heholdsonhisownview“oneperiod,oneConfucius”.Anotherexampleisthatbenevolence(“Ren”)isthemostessentialintheAnalects,butArthurhasnotadoptthe“goodness”toreplace“Ren”,instead,heintendstocombinethe

57、sameconnotationbetweenthem,whichmeansthatneitherofthemisequaltotheother.Andheprefersdomesticationduetohisculturalidentity,andwecanknow,tosomeextent,hehasaffectedbytheChineseliterature.AsforthetranslationsofSunDayu,arealsosuccessful,andhepreferstogiveprefacewhentranslatingChineseliteraturesoastohelpf

58、oreignreaders.Sowecanfindagreatintroductionofauthorinhisworks.MotivationoftranslationMotivationusuallyreferstothepsychologicalfeaturearousinganorganismtomoveforwardawantedgoal,butobjectivemeansthegoalintendedtobeattained.Tosomeextent,translationisequaltotranslationpurpose.Whenwetalkaboutthepurposeof

59、translation,wehavetomentionSkopostheory.SkoposisaGreekwordfor“aim”or“purpose”andwasintroducedintotranslationtheoryinthe1970sbyHans-Venneerasatechnicaltermforthepurposeofatranslationandoftheactionoftranslating.(JeremyMundy,2001:78).Usuallywemaysaythattranslationisanobjectiveprocess,however,itsalmosti

60、mpossibletotranslatethewholetextwithoutinvolvementofpersonalfeeling,purposeoftranslators,thatswhywealwayscanfindoutthedifferencebetweendifferentkindsoftranslationworks.Forinstance,sometranslatorsshedgreatlightontheoriginalityofthetext,theymaychoosetheliteraltranslation,though,itsobscuretounderstand,