汉诗英译的审美感应与主体性介入的对应性研究

A Corresponding Study on Aesthetic Stimulus-Response and Subjective Intervention of Chinese Classical Poetry Translation

诗歌翻译过程是一个审美感应过程,对于这一过程的理论观照可以借助阐释学、接受美学以及感应美学进行。本文以唐朝诗人王维的诗歌《鹿柴》英译为例,对中国山水诗英译中的审美感应方式、主体性介入方式及其产生原因和审美效果进行了考察,在其中发现了译者作为审美主体的“他”本感应、“我”本感应、“他我”融合感应三种审美感应方式,以及相对应的弱势介入、强势介入、适度介入三种主体性介入方式。它们之间的对应主要是因为带不同“偏见”的不同译者在进行视域融合时或偏向原语文化视域,或偏向译语文化视域,抑或将上述两种视域加以融合,以及相应的译入语读者对译诗风格的不同预期存在着不同程度的干扰,因此产生了译诗弱于原诗美感、偏离原诗美感、等同甚或超越原诗美感的审美效果。

Poetic translation is an aesthetic stimulus-response process, which can be examined in light of hermeneutics,reception aesthetics, and stimulus-response aesthetics. The translation of “Luzhai”(“鹿柴”), a poem by Tang poet Wang Wei, is put into the three perspectives to come up with a survey in terms of the stimulus-response way, subjective intervention and hence-produced aesthetic response. The translations of the poem are to be found as the results of Other-oriented, I-oriented, and Other/I convergence stimulus-responses, as well as three corresponding degrees of subjective interventions: weak, strong, and adequate interventions. Furthermore, the three stimulus-response ways correspond to the inclinations to source-culture horizon, target-culture horizons, or the fusion of the two cultures’ horizons. The three subjective interventions accordingly lead to translations with three types of aesthetic effects, i.e., conveying less beauty than the original, deviating from the original in beauty, and equally beautiful as or more beautiful than the original.