This volume examines translation from many different angles: it explores how translations change the languages in which they occur, how works introduced from other languages become part of the consciousness of native speakers, and what strategies translators must use to secure acceptance for foreign works.
Haun Saussy argues that translation doesn't amount to the composition, in one language, of statements equivalent to statements previously made in another language. Rather, translation works with elements of the language and culture in which it arrives, often reconfiguring them irreversibly: it creates, with a fine disregard for precedent, loan-words, calques, forced metaphors, forged pasts, imaginary relationships, and dialogues of the dead. Creativity, in this form of writing, usually considered merely reproductive, is the subject of this book.
The volume takes the history of translation in China, from around 150 CE to the modern period, as its source of case studies. When the first proponents of Buddhism arrived in China, creativity was forced upon them: a vocabulary adequate to their purpose had yet to be invented. A Chinese Buddhist textual corpus took shape over centuries despite the near-absence of bilingual speakers. One basis of this translating activity was the rewriting of existing Chinese philosophical texts, and especially the most exorbitant of all these, the collection of dialogues, fables, and paradoxes known as the Zhuangzi. The Zhuangzi also furnished a linguistic basis for Chinese Christianity when the Jesuit missionary Matteo Ricci arrived in the later part of the Ming dynasty and allowed his friends and associates to frame his teachings in the language of early Daoism. It would function as well when Xu Zhimo translated from The Flowers of Evil in the 1920s. The chance but overdetermined encounter of Zhuangzi and Baudelaire yielded a 'strange music' that retroactively echoes through two millennia of Chinese translation, outlining a new understanding of the translator's craft that cuts across the dividing lines of current theories and critiques of translation.
0 有用 thea 2020-04-12 07:27:15
Haun Saussy 的文笔真是好,谈古代中国的两个例子,利玛窦和早期佛教,写得非常漂亮,可是开头写徐志摩(也包括后来谈胡适),无论文笔还是风格,简直都不像一个人写的。。。
0 有用 Edelirium 2020-01-27 13:43:55
Haun Saussy派translation studies, it broadens language like inter-racial and inter-lingual divorce and remarriage extend family. 对于translation as mimesis的分析有点流于表面,毕竟他选了徐志摩死尸译序这个漂亮的反例。试论尤利西斯中文版试试。
0 有用 子娜娜敏 2019-07-22 09:26:33
看慧遠章終於找回自信笑
1 有用 沉默之岛 2022-05-03 15:29:28
翻译互文、原文与衍生文本的张力,理论不新,角度新。认为Venuti的反殖民异化翻译观和Bermann的翻译伦理观都不够clear-cut:去哪里给本来就hybrid的文本划定界限?作者的方法就是跳出Anglocentrism进入中国语境,探讨原文和翻译角斗/摹仿/共生的过程。后面选了徐志摩恶之花,利玛窦,佛经翻译作为例子,穿插庄子典故,最后一章又回到庄子的历史形象,How much of Zhua... 翻译互文、原文与衍生文本的张力,理论不新,角度新。认为Venuti的反殖民异化翻译观和Bermann的翻译伦理观都不够clear-cut:去哪里给本来就hybrid的文本划定界限?作者的方法就是跳出Anglocentrism进入中国语境,探讨原文和翻译角斗/摹仿/共生的过程。后面选了徐志摩恶之花,利玛窦,佛经翻译作为例子,穿插庄子典故,最后一章又回到庄子的历史形象,How much of Zhuangzi was written by Zhuangzi?感觉只是打开了一个悬而未决的切口。 (展开)
0 有用 He is Good 2019-05-01 21:50:49
You are not looking for an equivalent, but you find one in translation. Translation is mediated through language and culture. Each option of nativization and foreignization is a deliberate choice. Cho... You are not looking for an equivalent, but you find one in translation. Translation is mediated through language and culture. Each option of nativization and foreignization is a deliberate choice. Choices also exhibit an ethical problem: are we treating the other as other, using Levinas' philosophy, or are we trying to make the other like us? (展开)
1 有用 沉默之岛 2022-05-03 15:29:28
翻译互文、原文与衍生文本的张力,理论不新,角度新。认为Venuti的反殖民异化翻译观和Bermann的翻译伦理观都不够clear-cut:去哪里给本来就hybrid的文本划定界限?作者的方法就是跳出Anglocentrism进入中国语境,探讨原文和翻译角斗/摹仿/共生的过程。后面选了徐志摩恶之花,利玛窦,佛经翻译作为例子,穿插庄子典故,最后一章又回到庄子的历史形象,How much of Zhua... 翻译互文、原文与衍生文本的张力,理论不新,角度新。认为Venuti的反殖民异化翻译观和Bermann的翻译伦理观都不够clear-cut:去哪里给本来就hybrid的文本划定界限?作者的方法就是跳出Anglocentrism进入中国语境,探讨原文和翻译角斗/摹仿/共生的过程。后面选了徐志摩恶之花,利玛窦,佛经翻译作为例子,穿插庄子典故,最后一章又回到庄子的历史形象,How much of Zhuangzi was written by Zhuangzi?感觉只是打开了一个悬而未决的切口。 (展开)
0 有用 奧卑利街3-5號 2021-09-15 11:48:37
@2020-12-24 14:43:28
0 有用 thea 2020-04-12 07:27:15
Haun Saussy 的文笔真是好,谈古代中国的两个例子,利玛窦和早期佛教,写得非常漂亮,可是开头写徐志摩(也包括后来谈胡适),无论文笔还是风格,简直都不像一个人写的。。。
0 有用 Edelirium 2020-01-27 13:43:55
Haun Saussy派translation studies, it broadens language like inter-racial and inter-lingual divorce and remarriage extend family. 对于translation as mimesis的分析有点流于表面,毕竟他选了徐志摩死尸译序这个漂亮的反例。试论尤利西斯中文版试试。
0 有用 子娜娜敏 2019-07-22 09:26:33
看慧遠章終於找回自信笑