从“创造性叛逆”到“创作性偏离”——读译埃斯卡皮《文学读解的关键词:创作性偏离》杂感

From“Creative Treason”to“Creative Deviation”:Random Thoughts on Reading and Translating Robert Escarpit’s“‘Creative Treason’as a Key to Literature”

埃斯卡皮的“创造性叛逆”概念在中国译学界影响深远,近来又成为“译文学”与“译介学”学术论争的一个焦点问题。因此有必要对“创造性叛逆”这一外来概念的翻译与理解再做探讨。埃斯卡皮专门阐释此概念的《文学读解的关键词:创作性偏离》一文,虽被提及,但未为国内熟知。通过解读这一重要文章,可以阐述“创造性叛逆”的深层含义,更加深入地认识和探讨译介学和译文学就这一概念的论争。进而发现,“创造性叛逆”作为一个译名并未体现埃斯卡皮原意,它或许可以为“创作性偏离”这一译语所替代。

Robert Escarpit’s concept of“creative treason”has had a profound influence on Chinese translation studies.Recently,it has become the topic of a heated academic debate between translation literature and medio-translatology.We therefore need to further explore the translation and understanding of the imported concept of“creative treason.”The concept is interpreted in Escarpit’s“‘Creative Treason’as a Key to Literature,”which,although referred to,is not well-known in China.Analysis of this important article enables us to interpret the deep implications of“creative treason,”and gain a better understanding and exploration of the conceptual debate between medio-translatology and translation literature.We find that the translation of creative treason as chuangzaoxing panni(创造性叛逆)does not reflect Escarpit’s original intention.A possible replacement is chuangzuoxing pianli(创作性偏离).