Literary academic papers (2)

The second part of literary academic papers

Creative treason in the translation of Chinese and western literature

Translation is not only a bridge to communicate different cultures in the world, but also provides an indispensable medium for the spread of cultural and literary influences. Besides, translation itself is an art and a kind of re-creation. Creative treason? Its application has always been a very important topic in the literary circles at home and abroad.

Scholars of comparative literature believe that the key to surpassing the original is creativity and treason in translation. Therefore, creativity in translation refers to the translator's ability to creatively return the translation to the essence of the original. Relatively speaking, treason means that the translator fails to faithfully reflect and convey the essence of the original, thus violating the original idea. However, in the actual translation process, creativity and treason are inseparable.

In the translation of Chinese and western literature, translators often think about whether to directly translate the original text according to the norms of the source language or recreate the original text according to the norms to make it more acceptable to readers. In fact, the essence of creativity exists in any literary translation. To some extent, translated works are not only the reproduction of the original text, but also the re-creation of the original text.

To this end,? Creative treason? The term is French writer Robert? Escarpit first proposed that he thought? Translation is always creative treason? And propose? Translation is rebellious, because it puts the work in a completely unexpected frame of reference, and it is creative, because it gives the work a brand-new look and enables it to have a brand-new literary exchange with a wider range of readers, because it not only prolongs the life of the work, but also gives it a second life? . Creative treason is the basic feature of literary category, which does not simply belong to literary translation. In other words, creative treason is closely related to the acceptance and dissemination of literature, and they are inseparable. In the practice of literary translation, creative treason is reflected in the receiver, translator and reception environment to varying degrees.

Both comparative literature and translation theorists have systematically analyzed and explained the creative treason in translation. Mr. Xie Tianzhen, a leading figure in translation field, believes that creative treason of translators can be divided into conscious and unconscious types, which include the following types: personalized translation, mistranslation and ellipsis, abridgement and compilation, mistranslation and ellipsis, translation and adaptation, etc. Unconscious expressions in creative treason, such as mistranslation and ellipsis, are all caused by the translator's own cultural knowledge background, taste cultivation and other factors. Accordingly, it cannot be simply called? Creativity? .

Translators' creative treason can be divided into conscious and unconscious, including the following four situations:

(1) Personalized translation. On the surface, the original intention was expounded in natural and fluent language, but in depth it was integrated into the original culture. If the translation is completely in line with the original culture, the sentences will be chaotic.

(2) abridged translation and compilation. There are many reasons for abridged translation and compilation in Selected Works of Foreign Literature: in order to cater to readers or facilitate dissemination, in order to conform to the customs and habits of the receiving place, or local moral and political factors, these are conscious rebellions.

(3) Mistranslation and ellipsis. For example, the English translator translated Tao Yuanming's The Son of Responsibility? Sue is twenty-eight? Translated into? Shu is eighteen? What do they think? 28? what's up Eighteen? This mistake. Mistranslation, that is, mistranslation of the original text. Deviated from the original text in the sense of words and thoughts. Although mistranslation is not desirable in translation, it exists objectively and is an unconscious rebellion.

(4) Translation and adaptation. Translation is the most rebellious, and it is the method used when there is nothing to do in the translation process. Translation and adaptation are special forms of creative treason in literary translation, and their uniqueness lies in the double changes to the original. Translation is a kind of language conversion. Adaptation, abridgement and ellipsis are different. Adaptation refers to changing the whole content plot or reflecting the change of genre. Translation abridgement is a large-scale change of content under conscious behavior. Missing translation refers to unconsciously changing a small part of the plot.

For Chinese and western literary works, translators can never fully express the true thoughts of the original authors, which lies in their different social values and different social life backgrounds. The translator's own knowledge connotation and cultural accomplishment make him carry out translation? Creative treason? The translator's subjective judgment is restricted by his personal factors and social and cultural factors.

1 Literary translation is creative treason.

(1) Creativity in literary translation. The essence of translation is to transform the contents contained in one language into another language through the media. Literary translation is to let readers know about different cultural customs and social characteristics, not just superficial reports and expressions. However, a large number of translated works show that there is still a considerable gap between the translation level and requirements and the standards defined in literary translation.

(2) Rebellion in literary translation. If the creativity of literary translation means that the translator creatively expresses the essence of the original by relying on his own ability, then the treason embodied in the translation process is the translator's objective deviation from the original in order to realize his subjective wishes. However, in actual literary translation, creativity and treason coexist harmoniously.

2 the acceptability of creative treason

Creative treason should follow two principles: sufficiency principle and loyalty principle. Literary translation, like other forms of translation, is largely controlled by the destination, and creative treason is an indispensable means to ensure literary translation. The principle of sufficiency requires creative treason to achieve the purpose of translation, while the principle of loyalty restricts the reasonable application of the translation, requiring translators to assume social responsibility and moral norms to ensure that people can accept creative treason embodied in literary translation works.

Because implied readers exist in all Chinese and western literary works, the author regards the external environment as his direct object and implied readers as his indirect object in the process of creation. But as far as the translator is concerned, when he reads the original, the former indirect object becomes the subject at this time. Although the original text is the direct object of reading, what we know through reading is the world in the author's mind or eyes. Therefore, the indirect target of the translator's reading comprehension activity is the original author, and the communication between the subjects is the process of discourse dialogue. Translation is not a fixed language conversion, but a product of mutual negotiation between two discourses. Due to the different educational background, life experience and knowledge structure of translators, it is impossible to have a unified standard for translation. As a comprehensive social activity, literary translation should exist in modern and complex society with a pluralistic and comprehensive evaluation system.

This paper analyzes the creativity and treason of literary translation from the receiver and the reception environment of the translation: (1) the creative treason of the receiver. The so-called receiver refers to the reader who reads the translated work. Because the recipients of different cultural backgrounds have different ways of thinking and knowledge literacy, different readers will form their own specific evaluation criteria when analyzing readers. Even in the same historical background, because the recipients have different cultural horizons and structures, they will inevitably re-create subjectively in text reading, thus promoting the continuous presentation of creative treason in the translation of heterogeneous literary works. (2) accept the creative treason of the environment. From the analysis of the reception environment of the translated text, different cultural customs, background of the times and language environment make the original text inevitably influenced and restricted by the target language, thus accepting and integrating the cultural connotation and characteristics of the target language.

Looking at the present situation of translation studies, Chinese and western literary translation is no longer limited to the traditional study of source text and target text, and its research scope also includes many other factors. The quality of translation has always been determined by? Loyalty? Principle is the criterion of its evaluation, but with the deepening of the study of translator's subjectivity, one of the most striking features of literary translation is that it pays special attention to the application of creative treason. Traditional translation studies deny the function and efficacy of creative treason, while in the field of comparative literature, they actively advocate the wide application of creative treason in literary translation. Skopostheorie, developed from German functionalist translation theory, points out that translation is a purposeful behavior based on the source text, and determining the highest standard of any translation process is the purpose of the whole translation behavior. This theory undoubtedly provides a brand-new and effective perspective for studying this kind of creative treason.

refer to

[1] Xie Tianzhen. Translation studies [M]. Shanghai: Shanghai Foreign Language Education Press, 1999.

[2] Qian Lihua. Literary translation and creative treason [J]. Journal of Guangdong College of Agriculture, Industry and Commerce, 2002( 1).

[3] Le Dai Yun. Cultural differences and cultural misreading [A]. Peking University Publishing House, 1995.

[4] Song Hong Ying. Literary translation? Creative treason? [J]。 Journal of PLA Foreign Languages Institute, 200 1(5).

[5] Jun Lv. Crossing cultural barriers? The reconstruction of Babel [M]. Nanjing: Southeast University Press, 200 1.

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