在“他者”和“自我”的悖论之间——狄星本《小姨多鹤》的文化立场和译介模式

Between the paradox of otherness and selfness: The cultural stance and translation mode Esther Tyldesley adopted in the translation of Little Aunt Crane

严歌苓作品《小姨多鹤》的英译本LittleAuntCrane之所以获得"流畅自然而又深深扎根于原文本的时空场域之中"的赞誉,是因为英国汉学家狄星坚持以"他者文化"为中心,忠实还原了源语文本的"异质"本色,同时始终将目标读者的阅读期待置于翻译考量内,以尊重和平等的姿态接纳和阐释异质文本。狄星在异质性和可读性之间的有机筹谋使译文充分凸显出原文本所承载的文化表征,在时空上完成了对原作生命力的有效延展,并帮助译入语积极吸纳新鲜文化元素,使译文呈现出独特的异质文化特色,实现了原作的美学旨归和目标读者的阅读期待。

Little Aunt Crane,the English version of Chinese author Yan Geling’s namesake novel,is widely praised since its translator Tyldesley’s"smooth translation retains the lyricism and keeps the novel rooted in its time and place".Being stead-fast in her stance on giving top priority to"other’s culture",the English sinologist faithfully maintains"otherness"unique of the original text.Meanwhile,the reading habit of and expectation from the target readers are taken into full consideration by the translator who,as a result,embraces the foreign text and interprets it on an equal and respectful footing.Thanks to her art-ful manoeuver between retaining the"otherness"of the original and ensuring the"readability"of the target,the translation work not only shows a true picture of the cultural characteristics of the original and thus extends its life span in time and space,but also enriches the target language by taking in fresh blood from the original.