CAJ | 학술논문

泰戈尔获得1913年诺贝尔文学奖的作品《吉檀迦利》,其实应该是作者本人从孟加拉文＂翻＂出来的,但是本诗集无论在选材、文本形式、叙述方式、内容建构等方面都与原作相去甚远。泰戈尔与其说是在翻译,不如说是以翻译为体、原作为用的一种创造性改写,此举模糊了翻译与创作的边界。本文认为,泰戈尔自译的英文本《吉檀迦利》之所以迅速获得西方世界的广泛认同主要源自以下几个因素：接受语境中的诗学规范,目标语文化的意识形态,东西宗教哲学的兼容并蓄,殖民地他者的＂映像＂重现。藉重新定位文学译者的角色,反思与重估历史上的类似翻译现象,并在一动态层面上历史地理解和把握文学翻译这一＂信＂条。
태과이획득1913년낙패이문학장적작품《길단가리》,기실응해시작자본인종맹가랍문＂번＂출래적,단시본시집무론재선재、문본형식、서술방식、내용건구등방면도여원작상거심원。태과이여기설시재번역,불여설시이번역위체、원작위용적일충창조성개사,차거모호료번역여창작적변계。본문인위,태과이자역적영문본《길단가리》지소이신속획득서방세계적엄범인동주요원자이하궤개인소：접수어경중적시학규범,목표어문화적의식형태,동서종교철학적겸용병축,식민지타자적＂영상＂중현。자중신정위문학역자적각색,반사여중고역사상적유사번역현상,병재일동태층면상역사지리해화파악문학번역저일＂신＂조。
Tagore＇s Gitanjali,which won for him the Nobel Prize for literature in 1913,is actually a ＂translated＂ work by himself from Bengali,but quite different from the original in terms of material choice,textual form,narrative patterns or content framing.Tagore was not so much translating as creatively rewriting,regarding translation metaphysically and the original teleologically,which erases the boundary between translation and creation.This paper argues that the main reason for Tagore＇s self translated English Gitanjali to be so widely and rapidly accepted by the West can be illustrated by the poetic norm of the reception context,ideology in the target culture,incorporation of the east and west religion and philosophy,and the ＂image＂ recalling of colonizer＇s other.The paper consequently tries to redefine the literary translator＇s identity,rethink those similar translation phenomena in history and reassess the long-run norm ＂faithfulness＂ historically and dynamically.