表演与程式:民间口头文学“花儿”英译的民俗学视野

Performance and Formula Translating Folk Oral Literature “Huar” from the Folkloristic Perspective

西北民歌'花儿'是一种典型的民间口头文学,与传统文人诗歌有着极大差异,其英译具有文学翻译与音乐翻译的双重属性。这种双重属性要求我们在'花儿'英译时既要兼顾其文学性,又要考虑其演唱性,不能简单地套用译介传统诗歌的方法,必须另辟蹊径。口头程式理论和表演理论是美国民俗学视域下研究口头文学的两大重要理论,可为'花儿'的译介研究提供新思路、新方法。基于对国内外研究现状的梳理,本文以这两大理论为关照进行跨学科阐发,从'花儿'的民族化语言、固定化主题、前景化程式与表演性特征出发,其英译宜采用歌手、民俗专家、民汉译者、汉英译者的多元合作模式与民族志式的深度异化策略,即'花儿'所承载民族文化的异化保留、表演场域的多模态呈现及副语言描写、直译加注释的深度翻译,旨在为少数民族口头文学的跨文化传播做有益探索。

Chinese northwestern folk song'Huar'(花儿)belongs to the genre of folk oral literature,which is very different from traditional literary poetry.Its translation into English has the dual nature of literary translation and music translation,which requires us to consider both literariness and musicality in the translation.Methods for translating traditional poems would not be adequate in this case.Oral Formulaic Theory and Performance Theory are two important theories in the study of oral literature from the folkloristic perspective,and they can provide new thoughts and methods.The paper,after a review of related literature and of the two theories,discusses the'nationalized'words,inherent themes,foregrounding formula and performing characteristics in'Huar',and suggests a cooperative mode(involving singers,folk experts,Chinese dialects-Mandarin translators and Mandarin-English translators)and an ethnographic way of foreignization.Translation examples adopting such strategies are given.