历史中的原乡书写——华人离散译者的京剧译介研究  

The writing of homeland culture under different historical contexts——An exploration into the Peking Opera translations by diasporic translators of Chinese origin

作　　者：黄勤[1] 王亚军 Huang Qin;Wang Yajun

机构地区：[1]华中科技大学外国语学院

出　　处：《西安外国语大学学报》2023年第2期81-86,共6页Journal of Xi’an International Studies University

基　　金：国家社科基金项目“华人离散译者中国文化译介与传播研究”(项目编号:20BYY017)的阶段性研究成果。

摘　　要：身处于不同时空语境,离散译者的原乡文化译介活动呈现出不同特点。本研究以身处于不同历史时期的两位华人离散译者熊式一和杨世彭的京剧译介活动为个案,探讨他们的京剧译介特征。研究发现,在20世纪30年代,熊式一嗅识到异域英伦对于原乡中国的误读,为了迎合目标语文化,他将京剧《王宝钏》改译为话剧,其目的实则是为了更顺畅地言说正面的中国形象。而在20世纪60年代,鉴于中国戏曲表演范式在西方已经得到认可和吸收,原汁原味的京剧也是很多在美华人离散学者的共同精神纽带,杨世彭因此将京剧表演范式忠实地迻译到异域。Situated in different historical contexts,the activities of translating homeland culture by diasporic translators embody different features.Taking S.I.Hsiung and Daniel S.P.Yang as cases,the present study probes into their Peking Opera translation activities and discovers their translation characteristics.It is found that,faced up with the incorrect cognition of China by the British people in the 1930s,Hsiung rewrote Wang Baochuan(《王宝钏》)within the norm of British culture to realize the ultimate goal of portraying a positive image of China.Whereas,Yang preferred to introduce Peking Opera into America with little deformation.This was because in 1960s the original Peking Opera was the spiritual link among Yang and other diasporic Chinese scholars in America.Moreover,the performing paradigm of traditional Chinese operas was recognized in the western world at that time,which provided a favorable historical context of loyal translation.

关 键 词：华人离散译者 京剧译介 中国正面形象言说 京剧忠实迻译 

分 类 号：H059[语言文字—语言学]