欲望化他者与言说自我——清末民初拜伦形象本土化中的译者主体身份检视  

Other as the Projection of Self: The Domestication of Byron’s Image in China during the Late-Qing and Early-Republic Period

作　　者：屠国元[1] 李静[1] 

机构地区：[1]中南大学

出　　处：《中国翻译》2012年第5期19-24,128,共6页Chinese Translators Journal

基　　金：国家社会科学基金项目"译者主体论"(编号:07BYY010);2010中央高校经费重点课题"翻译研究的全球化思考与本土化行动";湖南省社科基地委托项目"清末民初<哀希腊>译介研究"(编号:11JD76)的部分成果

摘　　要：在清末民初的社会语境中,经由《哀希腊》的翻译,梁启超、马君武、胡适把他们的社会理想投放在拜伦的身上,归化了他者拜伦,中国化的拜伦被如愿以偿地建构起来,逐渐成为清末民初时期的"社会集体想像物",因而具备了某种标本的意义,获得了极强的隐喻性和象征性,转化为民族救亡的符号资本。"他者"拜伦形象的塑造,书写了译者的民族救亡功利话语,张扬了译者的主体身份。In the specific historical context of the late Qing Dynasty and the early Republic of China period, Chinese translators of'The Isles of Greece'such as Liang Qichao, Ma Junwu and Hu Shih all tended to project their own social ideals and cultural desires onto the image of Byron. The Byron that emerged from their renditions is more a Chinese than a British hero, a sinicized fictional character from whom one derived much symbolic capital for national salvation in early modern China. The case in which a Chinese Byron was constructed brings to light both the translators’subjectivity and their politically motivated utilitarian bent.

关 键 词：形象学 拜伦 他者形象 《哀希腊》 译介 译者主体身份 本土化 

分 类 号：H059[语言文字—语言学]