中南大学学报（社会科学版）
中南大學學報（社會科學版）
중남대학학보（사회과학판）
Journal of Central South University (Social Science)
2015年
5期
182-189
,共8页
《离骚》英译史%宇文所安译文%不可译性的突破%陌生化的消解%世界诗歌
《離騷》英譯史%宇文所安譯文%不可譯性的突破%陌生化的消解%世界詩歌
《리소》영역사%우문소안역문%불가역성적돌파%맥생화적소해%세계시가
the history of Li Sao’s translation%Stephen Owen’s translation of Li Sao%breakthrough of untranslatability%dissipation of defamiliarization%World Poetry
19世纪末以来，《离骚》英译本不断出现，其中以霍克斯、伯顿、宇文所安的译文影响较大。通过将宇文所安译文置于《离骚》英译史的大背景下，与霍克斯、伯顿译文的对比，来探讨其特色和成就。宇文所安的译文是民族性和世界性的辩证统一。对于独具汉民族特色的骚体，宇文所安创造性地运用“半诗体”、破折号、标点空缺以及精心选择的语词，最大限度地再现原文的文体特点，同时勾联并存了东方的哀怨美与西方的悲剧美；在陌生化内涵的翻译上，宇文所安译文体现了译者对源文化中的宗教意识和悲剧精神的深刻理解，对男女两性政治隐喻手法的准确把握。宇文所安的译文是其“世界诗歌”理念的实践，考虑到了多元语言文化的差异性、意义的开放性和传播的有效性，对中国的典籍翻译有积极的指导意义。
19世紀末以來，《離騷》英譯本不斷齣現，其中以霍剋斯、伯頓、宇文所安的譯文影響較大。通過將宇文所安譯文置于《離騷》英譯史的大揹景下，與霍剋斯、伯頓譯文的對比，來探討其特色和成就。宇文所安的譯文是民族性和世界性的辯證統一。對于獨具漢民族特色的騷體，宇文所安創造性地運用“半詩體”、破摺號、標點空缺以及精心選擇的語詞，最大限度地再現原文的文體特點，同時勾聯併存瞭東方的哀怨美與西方的悲劇美；在陌生化內涵的翻譯上，宇文所安譯文體現瞭譯者對源文化中的宗教意識和悲劇精神的深刻理解，對男女兩性政治隱喻手法的準確把握。宇文所安的譯文是其“世界詩歌”理唸的實踐，攷慮到瞭多元語言文化的差異性、意義的開放性和傳播的有效性，對中國的典籍翻譯有積極的指導意義。
19세기말이래，《리소》영역본불단출현，기중이곽극사、백돈、우문소안적역문영향교대。통과장우문소안역문치우《리소》영역사적대배경하，여곽극사、백돈역문적대비，래탐토기특색화성취。우문소안적역문시민족성화세계성적변증통일。대우독구한민족특색적소체，우문소안창조성지운용“반시체”、파절호、표점공결이급정심선택적어사，최대한도지재현원문적문체특점，동시구련병존료동방적애원미여서방적비극미；재맥생화내함적번역상，우문소안역문체현료역자대원문화중적종교의식화비극정신적심각리해，대남녀량성정치은유수법적준학파악。우문소안적역문시기“세계시가”이념적실천，고필도료다원어언문화적차이성、의의적개방성화전파적유효성，대중국적전적번역유적겁적지도의의。
Since the 19th century, there have been appearing continuously translations of Li Sao. Among all the translators of this classic, David Hawkes, Burton Watson, and Stephen Owen are the most influential ones. The present essay, by comparing Stephen Owen’s version of Li Sao with the other two by David Hawkes and Burton Watson, explores Stephen Owen’s artistic achievement. Stephen Owen’s translation of Li Sao is a dialectical unity, keeping a delicate balance between nationality and universality. As for the unique genre “saoti”, Stephen Owen creatively employs“hemistiches”, dash, absence of punctuation, and delicate word selection, representing the stylistic features of the source to the most extent and combining Chinese sad sense of beauty with western tragic one. When it comes to defamiliarizing connotations, Owen’s translation reflects his deep understanding of religious and tragic conceptions embedded in the Chinese culture as well as his skillful grasp of the political connotations of love metaphors. Diversity of languages and cultures, openness of interpretation and communicative availability are all taken into consideration in his translation. In a word, his translation is a practice of his conception of “World Poetry”, and thus is significantly valuable to the translation career of Chinese classics.
