从复调音乐和复调小说到复调翻译——以2010年上海世博会的口号翻译为例

Polyphony Music,Polyphony Fiction and Polyphony Translation—— An Analysis of Shanghai Expo's Slogan Translation

巴赫金从复调音乐的旋律特征出发.把陀思妥耶夫斯基的小说命名为复调小说,因为复调结构体现了多个人意志的交锋与融合。同样,在翻译过程中.作者、译者、主人公与语言系统也在进行潜在的多元时话.在多种意志的交锋与融合中决定了最佳的译文规范,这样的翻译可以称为复调翻译。上海世博会口号的中英文版本在语言结构和语义持换上所表现出的大胆突破,很难用作者中心主义、文本中心主义或译者中心主义得到合理的解释,但是复调翻译的理念合理地解释了多种要素冲突与妥协的过程,这些要素除了具有主体性特征的作者、译者和主人公之外,语言系统之间的结构和语义特性也是不可忽略的对话参与者.所以"复调翻译"比"主体间性"具有更强的概括性和解释力。

Inspired by the melody features of polyphony, Bakhtin named Dostoevsky＇ s work polyphony fiction because polyphony structure therein embodies the clashes and fusion of multiple wills. In the same veil, author, translator and heroes in translation are involved in a potential multiple dialogue which determines the final version of translation ; such can be called polyphony translation. Slogan translation of Shanghai Expo in 2010 displayed bold innovations in the changes of language structure and semantic alternations, which can hardly be accounted for by author centrism, text eentrism or translator eentrism. As a contrast, polyphony translation does a good job in explaining the clashes and compromise of multiple elements among which, apart from author, translator and hero, structural and semantic features across language systems cannot be ignored. Consequently, polyphony translation has greater generality and more interpretive power than intersubjectivity.