张爱玲自译文学作品中陌生化手法的再现研究

A Study on the Representation of Defamiliarization Devices in Eileen Chang's Chinese-English Self-translation

俄国形式主义认为文学性通过"陌生化"表现。本文以张爱玲《金锁记》、《等》和《桂花蒸阿小悲秋》3篇小说及其英译为例,旨在探究体现原作文学性的陌生化手法在自译过程中如何得以再现。研究发现,自译中作者和译者的诗学取向与审美诉求一致,冲突消弭,陌生化手法通过陌生化翻译策略的大量使用得以最大限度的再现,说明文学作品的文学性是可译的,为文学翻译中文学性的再现提供借鉴。

Russian formalists believe that literariness is embodied in defamiliarization devices. The paper studies Eileen Chang＇s The Golden Cangue, Little Finger Up and Shame, Amah ! and their English versions, and aims to explore the representation of the defamiliarization devices which show the original literariness in her self-translation. It is shown that the translator＇s poetic orientation and aesthetic appeals accord with that of the author, and the conflicts between the translator and the author disappear in self-translation. Therefore the representation of defamiliarization devices is maximized through defamiliarizing translation strategy, which proves the translatability of literariness in literary works and provides reference for the representation of literariness in literary translation.