符际翻译与后翻译研究视角下的中国当代文学对外传播——从《妻妾成群》到《大红灯笼高高挂》

Transmission of contemporary Chinese literature from the perspective of intersemiotic translation and post-translation studies——From Wives and Concubines to Raise the Red Lantern

在全球化信息时代,意义生成的手段不断革新,传统的书面文字向多模态文本发展,文化交流和知识传递的方式也越来越多元。鉴于此,不少翻译学者试图打破语际翻译的局限,回归到罗曼·雅格布森的三大翻译分类,将符际翻译列入研究范畴,大大拓展了翻译研究的疆域。纵观当代文学外译史,电影改编在其中发挥了不可忽视的作用,莫言、苏童和余华在国外的走红都离不开张艺谋导演对他们作品的改编。本文以苏童小说《妻妾成群》为例,借用符际翻译的概念和文化翻译相关理论,探讨小说英译版本与电影改编版本、芭蕾舞剧版本《大红灯笼高高挂》如何通过不同媒介再现小说,让原著在新的文化语境中得以延续、获得"后起之生命",并借此案例探讨埃德温·根茨勒所提出的"后翻译研究"理念,考察翻译研究疆域的拓展对中国当代文学对外传播的意义。

The globalized information era is revolutionizing the domain of meaning making,witnessing a turn from traditional written texts to multimodal texts and a sharp increase by means of cultural exchanges and knowledge transmission. To meet the demand of this multimodally conceived communicational world,some translation scholars traced back to Roman Jakobson＇s three categories of translation,seeking to look beyond interlingual translation and include intersemiotic translation into discussion. In the translation history of contemporary Chinese fiction,film adaptation has played an irreplaceable role to garner a wider readership for the writers. Zhang Yimou＇s adaptation of works by Mo Yan,Yu Hua and Su Tong contributed significantly to their popularity in the West. This paper focuses on Su Tong＇s Wives and Concubines,adopting theories from intersemiotic translation and cultural translation to examine how the original story is represented in its film adaption and balletic version＂Raise the Red Lantern＂and how it gains an＂afterlife＂in a new cultural context through different media. Drawing on insights from Edwin Gentzler＇s concept of ＂post-translation studies＂,it will further discuss the significance of an expanded definition of translation to the promotion of Chinese contemporary literature abroad.