从“掩饰”到“真实”——毛姆游记On a Chinese Screen译本中的中国形象

From Modifying to Confronting--Chinese Images in the Translations of Maugham's Travel Note On a Chinese Screen

毛姆游记On a Chinese Screen自20世纪四十年代共被重译四次,但这四本译作在翻译风格、内容、方法上均有较大差异。从东方主义视角对该游记四个汉译本进行分析,旨在得出各个译本中所构建的中国形象有何特点。其中,胡仲持的注释本对原文进行删改,美化了中国形象;陈寿更的译文体现出了明显的东方主义色彩,丑化、妖魔化中国形象;唐建清的译本较为忠实,但是有很多误译部分,有抗拒和解殖民化的倾向;而盛世教育西方名著翻译委员会的译本则相对准确地再现了原文。

Four translations of On a Chinese Screen have been published since the 1940s.However,the four translations have great discrepancy in translation styles,contents and methods.This thesis probes into the four translations of this travel note and the corresponding Chinese images from the perspective of Orientalism,aiming to find out the characteristics of Chinese images constructed in each translation.Hu Zhongchi's annotated version deletes and modifies the original text and beautifies Chinese images in his version.Chen Shougeng's translation reflects the apparent color of Orientalism which uglifies and demonizes Chinese images.Tang Jianqing's version is more faithful,but there are many mistranslations with anti-colonial feature.By contrast,the translation of Shengshi Education Committee for the Translation of Western Masterpieces is the most faithful one.