双重想象中的中国——《碧奴》中的风物意象群及其翻译  

China in Double Images--On Image Groups and Their Translation of Bi Nu

作　　者：苏剑光 SU Jian-guang(College of Foreign Languages,Northeast University,Shenyang Liaoning 110004,China)

机构地区：[1]东北大学外国语学院,辽宁沈阳110004

出　　处：《华北理工大学学报（社会科学版）》2022年第5期134-139,共6页Journal of North China University of Science and Technology(Social Science Edition)

基　　金：2019年度辽宁省社会科学规划基金项目“中国重述神话小说的英语译介与中国优秀传统文化的传播”(课题编号:L19BWW003)。

摘　　要：在全球化背景下的今天,“重述神话”项目意在支持各国作家对神话原型的现代性阐释,凸显各民族文化形象的异质性,促进各民族之间的沟通和交流。作为参与项目的中国作家,苏童将自己对民间哲学的思考和中华民族的独特精神气质写入了作品《碧奴》,通过在其中营造的含义丰富的风物意向群,为其赋予了独特的东方神秘审美意境,为读者构建了完整的中国形象。由著名翻译家葛浩文执笔的英译本《碧奴》同样体现了“重述”的现代性与神话性,但是对原作中的意向群却做了“适当、适量的翻译”,结果割裂了它们与中国民俗文化之间的联系,造成了中国形象的缺失,限制了作品的审美和精神维度。Faced with the trend of globalization,“retelling of the myth”aims at a modern interpretation of myths from different nations,reflects different cultural images and enhances their further communication and interaction.Chinese writer Su Tong joins the project and creates a unique work of Bi Nu,in which he establishes nets of images with traditional Chinese features,produces a unique Eastern aesthetic atmosphere and works out a holistic image of China.Compared with the Chinese version,the English version translated by Howard Goldblatt,a famous translator,has compromised on the translation of those nets of images.As a result,though exhibiting the modern and mythical feature,Bi Nu has lost its connection with the Chinese culture,thus damaging the complete image of China and the aesthetic and spiritual sphere.

关 键 词：《碧奴》 东方审美 意象 风物 翻译 

分 类 号：H315.9[语言文字—英语]