Discussions on the establishment of translational equivalence have been anchored on linguistic conversion and sociocultural factors;nonetheless,translating a story as a process of narrativization offers a different pe...Discussions on the establishment of translational equivalence have been anchored on linguistic conversion and sociocultural factors;nonetheless,translating a story as a process of narrativization offers a different perspective in understanding the dynamic nature of equivalence.The nomadic assemblage of linguistic equivalents is conditioned by the“narrativity”of the story.Narrativity opens up potential trajectories that allow the translator to perform a series of modifications and modulations,aiming to reproduce what Derrida calls a“relevant translation”,and any inappropriate choice of diction may result in the interior distortion of story meaning.The irreducibility of translatorial discursive intervention entails that the narrativity of the story is negotiated and fabricated by the translator and the art of story retelling through interlingual translation depends on the quality and effect of“transnarrativity”.This paper,taking the Chinese translation of Oscar Wilde’s The Happy Prince as an example,argues that the linguistic mellowness and thematic adorability of the transnarration are grounded in what Deleuze and Guattari call the“affective and perceptive”connectives among the text,the translator and the target reader.The affective and perceptive responses captured in the transnarrativity of the story are subject to the establishment and assemblage of equivalent relations manifested in a rhizomatic transformation or a nexus of potentially nomadic linguistic collisions.展开更多
文摘Discussions on the establishment of translational equivalence have been anchored on linguistic conversion and sociocultural factors;nonetheless,translating a story as a process of narrativization offers a different perspective in understanding the dynamic nature of equivalence.The nomadic assemblage of linguistic equivalents is conditioned by the“narrativity”of the story.Narrativity opens up potential trajectories that allow the translator to perform a series of modifications and modulations,aiming to reproduce what Derrida calls a“relevant translation”,and any inappropriate choice of diction may result in the interior distortion of story meaning.The irreducibility of translatorial discursive intervention entails that the narrativity of the story is negotiated and fabricated by the translator and the art of story retelling through interlingual translation depends on the quality and effect of“transnarrativity”.This paper,taking the Chinese translation of Oscar Wilde’s The Happy Prince as an example,argues that the linguistic mellowness and thematic adorability of the transnarration are grounded in what Deleuze and Guattari call the“affective and perceptive”connectives among the text,the translator and the target reader.The affective and perceptive responses captured in the transnarrativity of the story are subject to the establishment and assemblage of equivalent relations manifested in a rhizomatic transformation or a nexus of potentially nomadic linguistic collisions.
