从“烟士披里纯”到“灵感”——汉语语境中“inspiration”的译介与变异

The Introduction of“Inspiration”from Transliteration to Translation in Chinese Context

由于不同文化语境的影响,外来语词在进入汉语语境的过程中总是会伴随着各式的“变异”情形,“inspiration”在译介中的语义演化即是典型的例证。日语的“インスピレーション”音译沿用的是英语对该词本有的古希腊-拉丁语语义的转义,梁启超的汉语音译“烟士披里纯”虽隐含了“人人可得/天才独具”的潜在矛盾,却为其在汉语语境中的重新解释预留了开阔的空间;“灵感”的定译在祛除“神/灵”的神秘性的同时,逐步实现了其与中国传统文化中“感兴”等范畴的对接与转换。对于“灵感”的心理生成机制及其现实生活来源的探究,最终构建起了“灵感”作为文艺理论专门术语的基本知识模型。寻绎这一概念的译介流脉,目的不在于订正“词义”;概念意蕴的流变,本身就隐含着衍生出新的思想与学术的诸多可能。

Due to the influence of different cultural contexts,the process of foreign terms entering the Chinese context is often accompanied by“variation”.The semantic evolution of“inspiration”in the translation process serves as a typical example.The Japanese transliteration of romaji(innsubiresyo)follows the translation of ancient Greek-Latin languages.While Liang Qichao's Chinese transliteration of the word implies a potential contradiction between“availability to all”and“unique genius”,it allows for a broad scope of reinterpretation within the Chinese context.The translation as Linggan gradually establishes a connection and transformation with categories such as“sensation”in traditional Chinese culture,while dispelling the mystery of God or spirit.Furthermore,by delving into the psychological processes that generate“inspiration”and its real-life sources,a foundational knowledge model of“inspiration”as a technical term in literary and artistic theory has finally been constructed.It is worth emphasizing that the purpose of clarifying the concept in translation is not to alter its meaning,as such shifts inherently suggest numerous possibilities for new ideas and scholarship.