《花间集》的现代审美症候与福瑟克的对等译介诗学

Modern Aesthetic Symptoms in Among the Flowers and Lois Fusek's Poetics of Equivalent Translation

在中国古典诗词英译传播过程中,美国汉学家罗伊斯·福瑟克译介的《花间集》具有不可忽视的阐释价值和诗学启示。就阐释角度而言,福瑟克从普遍审美意识和现代性理念出发,对中国花间词予以现代性体验和创造性阐释,认为它具有现实超越性、文本自律性、人工技艺性、创造想象力、主题多义性等特点,契合并遥指19世纪晚近西方兴起的现代审美症候。就译介诗学而言,福瑟克从跨语际译介和跨文化诗学出发,重视词作的结构布局与意象安排,关注词体形式的诗学维度及其与主题的关联,以“结构对等翻译法”赋予译文结构形式以审美意义和诗学价值。《花间集》的现代审美症候与福瑟克的对等译介诗学密切关联,呈现出既彼此呼应又相互彰显的张力关系。它植根于西方主体性与现代价值观的“自我想象”与“中国想象”,是现代性价值与民族性诉求之间互动的变异呈现。

In the translation and dissemination of classical Chinese poetry in the English-speaking world,Among the Flowers:The Hua-chien chi translated by Lois Fusek has great value for interpretation and inspiration on poetics.From the perspective of interpretation,Fusek starts from the general aesthetic consciousness and the concept of modernity,giving modem experience and creative interpretation to Among the Flowers.She thinks that Among the Flowers has characteristics such as realistic-transcendence,textual self-discipline,artificial skill,creative imagination,and ambiguous theme,which are in line with the modern aesthetic symptoms rising in the late nineteenth century.In terms of translation poetics,Lois Fusek sheds light on cross-linguistic translation and cross-cultural poetics to emphasize the structural arrangement and image arrangement of Among the Flowers,the poetic dimension of Tz'u poetry and the relationship between its form and theme.She uses“translation of structural equivalence”to endow the structure of Tz’u poetry with aesthetic significance and poetic value.Between the modern aesthetic symptoms in Among the Flowers and the translation poetics of structural equivalence,there is both correspondence and contrast.It not only represents the“self-imagination”and“China-imagination”rooted in the subjectivity and modem values of the West,but also shows a variation of the interaction between the modern value and national appeal.