The Translator

Volume 29, Issue 1 (2023)

The Translator is a peer-reviewed international journal that publishes original and innovative research on a variety of issues related to translation and interpreting as acts of intercultural communication. By welcoming work based on a range of disciplinary perspectives and methodologies, The Translator supports both researchers and practitioners, providing a meeting point for existing as well as developing approaches. It aims to stimulate interaction between various groups who share a common interest in translation as a profession and translation studies as a discipline.

The Translator是一份同行評議的國際期刊，發(fā)表與作為跨文化交流行為的筆譯和口譯有關(guān)的各種問題的原創(chuàng)和創(chuàng)新研究。通過歡迎基于一系列學(xué)科觀點(diǎn)和方法的工作，The Translator支持研究人員和從業(yè)人員，為現(xiàn)有和發(fā)展中的方法提供一個(gè)交匯點(diǎn)。它旨在激發(fā)對翻譯這一職業(yè)和翻譯研究這一學(xué)科有共同興趣的不同群體之間的互動。

Articles

Re-reading Jacques Derrida’s ‘Qu’est-ce qu’une traduction “relevante”?’ (What is a ‘relevant’ translation?)

Kathryn Batchelor

Abstract

Within translation studies, Derrida’s (1999a/2012) lecture ‘Qu’est-ce qu’une traduction “relevante”?’ (What is a ‘relevant’ translation?) has been read as being a lecture that is about translation. However, the recently published Le Parjure et le Pardon [Perjury and Pardon]shows that Derrida recycled a large portion of the material from his two-year seminar on forgiveness. In this paper, I explore the possibility that Derrida’s lecture is not really about translation in any theoretical or general sense at all. Instead, I suggest that the primary interest of the lecture for today’s translation studies scholars lies in Derrida’s act of prowling around the French word ‘relever’. This word – which Derrida terms a ‘translative body’ – is crucial to Derrida’s exploration of the system of exchange and redemption within which mercy itself is inscribed. A close reading of the section of the lecture in which this translative body is put to work underscores the ability of translation to serve as catalyst for philosophical enquiry.

在翻譯研究中，德里達(dá)（1999a/2012）的講座 "Qu'est-ce qu'une traduction "relevante"? (什么是'相關(guān)'的翻譯？) 被解讀為是關(guān)于翻譯的講座。然而，最近出版的Le Parjure et le Pardon[偽證與赦免]顯示，德里達(dá)從他為期兩年的關(guān)于赦免的研討會中回收了很大一部分材料。在本文中，我探討了一種可能性，即德里達(dá)的講座根本就不是關(guān)于任何理論或一般意義上的翻譯。相反，我認(rèn)為，對于今天的翻譯研究學(xué)者來說，講座的主要興趣在于德里達(dá)在法語單詞 "relever "周圍徘徊的行為。這個(gè)詞--德里達(dá)稱之為 "翻譯體"--對于德里達(dá)探索交換和贖回的體系至關(guān)重要，而仁慈本身就被刻在這個(gè)體系中。仔細(xì)閱讀講座中這個(gè)翻譯體發(fā)揮作用的部分，強(qiáng)調(diào)了翻譯作為哲學(xué)探索的催化劑的能力。

Keywords: Derrida, translation, relevance, philosophy, untranslatability, forgiveness

關(guān)鍵詞：德里達(dá)，翻譯，相關(guān)性，哲學(xué)，不可翻譯性，寬恕

Recasting the unspeakable: pain, suffering and loss

Lorena Terando

Abstract

The cultural disruption Colombia has endured through civil strife, the shape of which has shifted through the centuries, has been chronicled in testimonios by women participants in and witness to events connected to the ongoing war. Testimonios exist to counter the official memory of events, and these women writers negotiate the challenges of re-constructing memory by baring their personal pain to take their stories to a broader audience. The author considers the challenges we face when representing pain or trauma, in language and from one language into another, in settings as diverse as medicine and literature. Writers rely on the art of rhetoric to convey pain in language, employing empathy as a strategy to offer us access to painful, traumatic events, calling on us to acknowledge pain and forging possibilities for deeper understanding of our universal humanity.

哥倫比亞在內(nèi)亂中經(jīng)受的文化破壞，其形態(tài)在幾個(gè)世紀(jì)中發(fā)生了變化，在與持續(xù)戰(zhàn)爭有關(guān)的事件中的婦女參與者和目擊者的證詞中都有記錄。證言的存在是為了反駁官方對事件的記憶，而這些女作家通過袒露她們的個(gè)人痛苦，把她們的故事帶給更多的讀者，來談判重新構(gòu)建記憶的挑戰(zhàn)。作者考慮了我們在醫(yī)學(xué)和文學(xué)等不同環(huán)境中用語言和從一種語言到另一種語言來表現(xiàn)痛苦或創(chuàng)傷時(shí)所面臨的挑戰(zhàn)。作家們依靠修辭藝術(shù)在語言中傳達(dá)痛苦，將移情作為一種策略，為我們提供接觸痛苦、創(chuàng)傷事件的機(jī)會，呼吁我們承認(rèn)痛苦，為更深入地理解我們的普遍人性創(chuàng)造可能性。

Keywords: Translation, pain, women writers, rhetoric, empathy, Colombia, testimonio

關(guān)鍵詞：翻譯，痛苦，女作家，修辭學(xué)，移情，哥倫比亞，證言

Poems about translation: a neglected form of theory

Kelly Washbourne

Abstract

This work is premised on the assertion that poems about translation can offer a way of doing theory, providing a resource that may elude rational discourse and reach the reader at least partly through eliciting aesthetic response. In many cases the poems presented and discussed are well known and broadly resonant; in others, quite obscure ‘occasional’ poems, but as a whole they show great teachable potential as a set of interrelated cases. Subgenres that poems about translation take, such as the verse epistle and the translator’s prefatory poem, are discerned, and ten subtypes of translation themes–such as the translator’s identity, translation framing and criticism, apologia for translation, advice to the translator – are distinguished in this non-exhaustive canon, and one may historicise and draw further conclusions about the poems in or against their respective eras of composition. The pedagogical usefulness of these works is strengthened by the analytical attention given to key features of the texts for elucidating principles, thematics, and historical debates on literary translation for the classroom.

這項(xiàng)工作的前提是，關(guān)于翻譯的詩歌可以提供一種理論的方式，提供一種可能避開理性話語的資源，至少部分地通過激發(fā)審美反應(yīng)來接觸讀者。在許多情況下，所介紹和討論的詩歌都是眾所周知的，并能引起廣泛的共鳴；在其他情況下，則是相當(dāng)晦澀的 "偶發(fā) "詩歌，但作為一個(gè)整體，它們作為一組相互關(guān)聯(lián)的案例顯示出巨大的教學(xué)潛力。關(guān)于翻譯的詩歌所采取的子類型，如詩集和譯者的序言詩，被辨別出來，翻譯主題的十個(gè)子類型--如譯者的身份、翻譯的框架和批評、翻譯的道歉、對譯者的建議--在這個(gè)非詳盡的典籍中被區(qū)分出來，人們可以對這些詩歌在其各自的創(chuàng)作時(shí)代或與之相對應(yīng)的時(shí)代進(jìn)行歷史化并得出進(jìn)一步結(jié)論。這些作品的教學(xué)用途因其對文本關(guān)鍵特征的分析關(guān)注而得到加強(qiáng)，這些文本可用于闡明原則、主題和課堂上關(guān)于文學(xué)翻譯的歷史辯論。

Keywords: Translation theory, metatranslation, translation criticism, metaphors of translation, the translator’s identity

關(guān)鍵詞: 翻譯理論，元翻譯，翻譯批評，翻譯的隱喻，譯者的身份

The prism of self-translation: poiesis and poetics of Yu Guangzhong’s bilingual poetry

Simona Gallo

Abstract

The activity of self-translation may be seen as a mise-en-scène of the hybrid auctorial self, as well as an ideal stage for a reconstruction of meanings, through a second original. As a (re)creative paradigm, self-translation echoes the concept of poiesis as a ‘bringing into appearance’, according to Heidegger’s interpretation, namely as a crystallisation of the refracted facets of language and self. In this connection, the genetic approach may represent a tool to access the aesthetic world of the writer (the poietes) and to explore his (re)creative process. This paper discusses the case-study of the distinguished Taiwanese poet Yu Guangzhong (1928–2017), and his self-translated poetry collected in Shouye ren 守夜人/The Night Watchman. Through a comparative reading of three selected bilingual poems with their manuscript versions, this paper aims to investigate Yu’s poetics of self-translation, while observing through the multi-layered spectrum of a linguistic and cultural rendering.

自我翻譯的活動可以被看作是一個(gè)混合結(jié)構(gòu)性自我的場景，也是一個(gè)通過第二原件重建意義的理想舞臺。作為一個(gè)（重新）創(chuàng)造的范式，自我翻譯呼應(yīng)了海德格爾解釋的poiesis的概念，即作為語言和自我的折射面的結(jié)晶，是一種 "帶入外觀"。在這方面，遺傳學(xué)方法可以代表一種進(jìn)入作家（poietes）的審美世界和探索其（再）創(chuàng)作過程的工具。本文討論了臺灣杰出詩人余光中（1928-2017）的案例研究，以及他收集在《守夜人》中的自譯詩歌。通過對所選的三首雙語詩及其手稿版本的比較閱讀，本文旨在研究余光中的自譯詩學(xué)，同時(shí)通過語言和文化渲染的多層次光譜進(jìn)行觀察。

Keywords: Self-translation, poiesis, poetics, creativity, hybrid, bilingualism

關(guān)鍵詞：自譯，詩歌，詩學(xué)，創(chuàng)造力，混合，雙語主義

In defense of Ezra Pound’s “graphological” translations

Duncan James Poupard

Abstract

The Chinese translations of Ezra Pound, particularly those which feature his method of deconstructing individual Chinese characters, have frequently been criticised by scholars of sinology, and his translations have as such been classified as something ‘other’ (as ‘poet’s versions’ or ‘re-creations’) within translation studies. This paper attempts to reclaim Ezra Pound’s ‘etymographic’ translations as translation proper, at the same time widening the scope of the near-defunct term ‘graphological translation’. It will be shown that graphological translation can be performed when visual semantics are given priority over lexical semantics, and as such graphological translation cannot be judged by the successful (or otherwise) transfer of lexical meaning. It is easiest to approach Pound’s treatment of Chinese (as a semantically charged ‘motivated’ writing system) using his previously ignored translations out of the highly visual Naxi script, a minority writing of southwest Chinese, that can be seen in his late poetry notebooks. Pound treats both character scripts as essentially ideographic and in translation highlights the graphological semantics of the source writing.

埃茲拉-龐德的中文翻譯，尤其是那些以他解構(gòu)單個(gè)漢字的方法為特色的翻譯，經(jīng)常受到漢學(xué)學(xué)者的批評，他的翻譯也因此被歸類為翻譯研究中的 "其他 "東西（如 "詩人的版本 "或 "再創(chuàng)造"）。本文試圖將埃茲拉-龐德的 "詞源學(xué) "翻譯重新納入翻譯的范疇，同時(shí)擴(kuò)大 "圖解學(xué)翻譯 "這個(gè)幾乎已經(jīng)失效的術(shù)語的范圍。它將表明，當(dāng)視覺語義優(yōu)先于詞匯語義時(shí)，可以進(jìn)行圖解學(xué)翻譯，因此，圖解學(xué)翻譯不能以詞匯意義的成功（或不成功）轉(zhuǎn)移來評判。最容易接近龐德對中文（作為一種語義上的 "動機(jī) "書寫系統(tǒng)）的處理的是他以前忽略的對高度視覺化的納西文的翻譯，納西文是中國西南地區(qū)的少數(shù)民族文字，在他后期的詩歌筆記中可以看到。龐德將這兩種文字腳本視為本質(zhì)上的表意文字，并在翻譯中強(qiáng)調(diào)了源文字的圖形學(xué)語義。

Keywords: Ezra Pound, graphological translation, writing systems, Naxi, ideographs

關(guān)鍵詞：埃茲拉-龐德，圖形學(xué)翻譯，書寫系統(tǒng)，納西語，表意文字

特別說明：本文僅用于學(xué)術(shù)交流，如有侵權(quán)請后臺聯(lián)系小編刪除。

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編輯：鄭奕涵

審核：Ethan 黃瑤耀 阮健儀

項(xiàng)目統(tǒng)籌：鄭奕涵

標(biāo)簽：Translator