该文介绍了互文性思想的缘起、发展及其应用,并以此为视角与小说翻译研究相结合。笔者以儿童文学名著Alice's Adventures in the Wonderland的中译本(赵元任译作)为例,从小说创作背后的社会背景、历史意义着手,通过两个译例分析并...该文介绍了互文性思想的缘起、发展及其应用,并以此为视角与小说翻译研究相结合。笔者以儿童文学名著Alice's Adventures in the Wonderland的中译本(赵元任译作)为例,从小说创作背后的社会背景、历史意义着手,通过两个译例分析并阐明了在广义互文性视角下,小说翻译所遇到的障碍和问题,并指出赵元任译本对翻译的启示,旨在探索互文性思想对小说翻译研究的价值与意义,进而为中西方的跨文化交流提供可借鉴的方法。展开更多
Alice Notley’s Culture of On e(2011)is a“poet’s novel”about a woman who lives in the dump of a U.S.Southwest desert town.The female character who“inhabits”the dump-and this poet’s novel-is both metonym for and ...Alice Notley’s Culture of On e(2011)is a“poet’s novel”about a woman who lives in the dump of a U.S.Southwest desert town.The female character who“inhabits”the dump-and this poet’s novel-is both metonym for and guide into the lost representation of“the abject,”a concept developed by Julia Kristeva as a psychic state of horror and response to that which lies outside culturally“normalized”subjects and objects,and our“desire for meaning.”Utilizing her dump refuse for its materials,the main character,Marie,creates her own“culture of one,”standing as figure for the artist/writer plunging not“meaning”but meaninglessness and its abject association with death,which is prefigured as the unclean,the improper,rejected body parts,deviant“non-existent”personae-and,ultimately,Marie’s figural status as marginal inhabitant/“culture remaker”/older woman/multi-media“poet”artist.Without traditional conventions of novelistic character development,plot,and visual description,Notley’s“poet’s novel”formally engages in what Viktor Shkolvsky,in his well-known essay“Art as Technique,”terms“defamiliarization”or“strangeness”(“ostranenie,”in Russian),including those principles he cites of“deceleration”and“deviation of the norm.”Notley’s work twists the binary logic implied in Shkolvsky’s“deviation”versus“norm”further by revealing abjection’s“strangeness”in the poet’s novel itself as form,”a text that is always becoming its own site of the linguistic abject,never codifying identity,or the interpreted known.展开更多
文摘该文介绍了互文性思想的缘起、发展及其应用,并以此为视角与小说翻译研究相结合。笔者以儿童文学名著Alice's Adventures in the Wonderland的中译本(赵元任译作)为例,从小说创作背后的社会背景、历史意义着手,通过两个译例分析并阐明了在广义互文性视角下,小说翻译所遇到的障碍和问题,并指出赵元任译本对翻译的启示,旨在探索互文性思想对小说翻译研究的价值与意义,进而为中西方的跨文化交流提供可借鉴的方法。
文摘Alice Notley’s Culture of On e(2011)is a“poet’s novel”about a woman who lives in the dump of a U.S.Southwest desert town.The female character who“inhabits”the dump-and this poet’s novel-is both metonym for and guide into the lost representation of“the abject,”a concept developed by Julia Kristeva as a psychic state of horror and response to that which lies outside culturally“normalized”subjects and objects,and our“desire for meaning.”Utilizing her dump refuse for its materials,the main character,Marie,creates her own“culture of one,”standing as figure for the artist/writer plunging not“meaning”but meaninglessness and its abject association with death,which is prefigured as the unclean,the improper,rejected body parts,deviant“non-existent”personae-and,ultimately,Marie’s figural status as marginal inhabitant/“culture remaker”/older woman/multi-media“poet”artist.Without traditional conventions of novelistic character development,plot,and visual description,Notley’s“poet’s novel”formally engages in what Viktor Shkolvsky,in his well-known essay“Art as Technique,”terms“defamiliarization”or“strangeness”(“ostranenie,”in Russian),including those principles he cites of“deceleration”and“deviation of the norm.”Notley’s work twists the binary logic implied in Shkolvsky’s“deviation”versus“norm”further by revealing abjection’s“strangeness”in the poet’s novel itself as form,”a text that is always becoming its own site of the linguistic abject,never codifying identity,or the interpreted known.
