阿罗多·德坎波斯对汉语古诗的“再想象”

Haroldo de Campos’s“Reimagination”of Classical Chinese Poetry

巴西具象诗人、学者、译者阿罗多·德坎波斯对汉语古诗进行了长期的阅读和创造性翻译,对西方“象意文”诗学作出了重要的理论发展,是一个尚未被中文学界充分关注的独特案例。在相关的具象诗学、语言符号学、创译理论等思想的影响下,阿罗多发展出自己对汉语古诗的翻译标准,实践了对汉诗节奏、意境、声音、意象等方面的“再想象”。通过《锦瑟》《摽有梅》《菩萨蛮·黄鹤楼》等创译文本示例,可见阿罗多译作与其阅读、创作、语言理论和翻译理论之间的关联,其中亦提出了汉语古诗基础性的美学和翻译问题。

The Brazilian Concretist Poet,scholar,and translator,Haroldo de Campos,was long engaged in reading and transcreating,creatively,classical Chinese poetry,and made some major contributions to the theoretical development of the Western ideogrammic poetics.What he did is a singular case that has not been fully cultivated by Chinese literary scholars so far.Under the influence of Concretist Poetics,Linguistic Semiotics,and the theory of transcreation(transcriação),Haroldo developed his own criteria for the translation of classical Chinese poetry and practiced his“re-imagination”of the rhythm,artistic conception,sound,and imagery in Chinese poetry.An illustration based on his transcreations of Li Shangyin’s“Jin Se,”“Ode 20”from Shijing,and Mao Zedong’s“Yellow Crane Tower”may not only provide a glimpse into the correlation between Haroldo’s translation and his reading,creative works,and theories of language and translation,but also reveal several fundamental issues about the aesthetics and translation of classical Chinese poetry.