从文本注释到文化传播——由莫言短篇小说的日译本谈起  

From Text Annotation to Cultural Communication——from the Japanese Translation of Mo Yan's Short Stories

作　　者：于海鹏[1] YU Haipeng(School of Foreign Languages,Zhejiang Normal University,Jinhua 321004,China)

机构地区：[1]浙江师范大学外国语学院,浙江金华321004

出　　处：《浙江工商大学学报》2020年第2期11-20,共10页Journal of Zhejiang Gongshang University

基　　金：国家社会科学基金项目“宫本百合子反战作品研究”(16CWW011)。

摘　　要：藤井省三和吉田富夫为莫言作品的日本译介做出了巨大贡献,但二者的译本在翻译策略、语言风格、细节构成上也存在着诸多差异。单就“注释”而论,藤井省三较多关注对中国历史文化现象的解释,吉田富夫则把重心放在了词汇本身,这种注释策略的差异也在日本读者中间产生了不同的反应,影响了各自译本的传播和接受。由此,从传播学的角度来看,中国作品外译应该遵循“读者优先”原则,在挑选适当原本的基础上,平衡“异化”和“归化”的比例,加强中外译者的交流合作,采用贴近对象国读者的表述,以便更好地推进中国文化“走出去”战略。Syozou Fujii and Tomio Yosida have made great contributions to the translation and introduction of Mo Yan's works in Japan.However,there are many differences in translation strategies,language styles and other details between the two versions.As far as“annotation”is concerned,Fujii has paid more attention to the explanation of Chinese historical and cultural phenomena,while Yosida has focused on the vocabulary itself.This difference in annotation strategies has also produced different reactions among Japanese readers,affecting the dissemination and acceptance of their respective translations.Therefore,from the perspective of communication,the translation of Chinese works should follow the principle of“reader first”,balance the proportion of alienation and domestication,strengthen the communication and cooperation between Chinese and foreign translators,and adopt the expression close to the readers of the target country,so as to better promote the“going out”of Chinese culture.

关 键 词：《苍蝇·门牙》 注释 读者优先 文化“走出去” 

分 类 号：I106[文学—世界文学]