从清末民初茶花女诗咏返观《巴黎茶花女遗事》译本的本土化

On the Localization of the Translation of La Dame aux Camelias from the Songs of Camille in the Late Qing Dynasty and the Early Republic of China

林纾与王寿昌合译的《巴黎茶花女遗事》1899年印行后,激发起清末以至民初读者高昂的吟咏兴致。译本中随处散落的本土意象,是催动清末民初读者开启本土化接受心理机制的重要引导因素。与读者接受过程本土化相对应的是译本生成过程的本土化:对《巴黎茶花女遗事》而言,一是名词翻译时含义的不对等,使译词本土意蕴突显,本土化由此开启;二是对中国文学资源的吸收,使译文在文学表现形式上进一步与本土文学对接;三是译者介入式翻译方式,以一种由内而外的归化力量,构成译本本土化的根本性因素。

After Lin Shu and Wang Shouchang co-translated Paris La Traviata which was published in 1899,it aroused the enthusiasm of readers from the late Qing Dynasty to the early Republic of China.The local images scattered everywhere in the translation are the guiding elements that urge readers to open up the psychological mechanism of localized acceptance.Corresponding to the localization of the reader’s acceptance is the localization of the translation process.For Lin’s translation of Paris La Traviata,three clues can be figured out.First,the unequal meaning of nouns in translation makes the local connotation of the translated words stand out,and localization begins.Second,the absorption of Chinese literary resources makes the translation further connected with the local literature in the form of literary expression.Third,the translator’s interventional translation method constitutes the fundamental factor of the localization of the translation with a domestication force from the inside out.