张爱玲《秧歌》自译中的改写研究

Study of the Rewriting in the Self-translated The Rice-Sprout Song by Eileen Chan

张爱玲自译《秧歌》是一种特殊的"回译",翻译过程中,翻译和创作呈现出复杂的动态变化关系,这种动态关系主要体现在译者对译文的改写。安德烈·勒菲弗尔的操纵理论认为:翻译即改写,改写就是一种操纵,翻译本质上是不同文化资本较量下话语权利的表现。探讨张爱玲创作和自译《秧歌》的动机,译本《跋》中对故事真实性进行辩护的目的,同时,具体分析细节、文化词汇、故事情节、政治意识形态倾向等方面的改写内容,探究改写背后的话语权利表现,并评价其改写的效果。

Eileen Chan＇s self-translated work The Rice-Sprout Song is a kind of typical reversed translation process in which the translation and writing are in a dynamic state, which is reflected in the translator＇s rewriting in the translated work. According to Andre. Lefevere, translation is rewriting and writing is manipulation, the essence of translation is the weight of words in the fighting between different cultural powers. This thesis is intended to explore the motivation of Eileen Chan＇s writing and self-translation of The Rice-Sprout Song, the intention to defend for the authenticity of the story in the epilogue of the translated work, at the same time, it is intended to analyze and account for the rewriting in details, cultural-loaded words, plot anti tendency in political ideology so as to explore the power of words anti evaluate the effects of the rewriting as well.