外語專業(yè)外文翻譯

1、<p>　　畢業(yè)設(shè)計(jì)[外文翻譯]</p><p>　　院系名稱 外國(guó)語學(xué)院 </p><p>　　專業(yè)班級(jí) </p><p>　　學(xué)生姓名 </p><p>　　指導(dǎo)老師_ </p><p><b>　　外文文獻(xiàn)翻譯</b>&l

2、t;/p><p>　　Wang in Love and Bondage:Three Novellas by Wang Xiaobo</p><p>　　"My uncle's crime was just a misdemeanor, but it really got on people's nerves," writes Wang Xiaobo in

3、2015 (part of the long novel The Silver Age), the first of three novellas translated by Hongling Zhang and Jason Sommer in Wang in Love and Bondage . The title 2015 refers to a future when artists cannot paint without a

4、permit and will not get a permit unless their paintings make sense. Wang explains: "This was because his paintings, with their riot of color, made no sense to anyone, and no one</p><p>　　Squatting turns

5、 out to be an important symbolic act in the fiction of Wang Xiaobo (1952-97), which has become something of a phenomenon in contemporary China, especially among intellectuals. Now three novellas from Wang's widely de

6、bated fictional oeuvre are available in English for the first time. While Wang initially published stories in 1980, he did not become famous until his novella The Golden Age (also called The Golden Years) received a pres

7、tigious award in Taiwan in 1995. From 1968 to 197</p><p>　　Zhang and Sommer begin with a useful short introduction contextualizing Wang's life and work. Among other things, they mention the Wang Xiaobo e

8、xhibition held at the Lu Xun Museum in 2005, evidence that his reputation as a writer continues to improve and that some, such as his wife (Beijing University professor of sociology Li Yinhe), who helped organize the exh

9、ibit, seek to help it improve. Zhang and Sommer also bring up several biographical details that are useful to know in reading his fictio</p><p>　　Nonetheless, Wang Xiaobo does to some extent deploy an "

10、against the state" approach, although his focus is not truly on resistance. This is apparent in the second of the three novellas, The Golden Age, which is generally thought to be Wang's masterpiece. This 1994 wo

11、rk has struck many with its unorthodox treatment of sexual desire and relations, and critics gush about the experience of reading it. The Golden Age is about the relationship between Wang Er, here age 21, and Chen Qingya

12、ng, a 26-year</p><p>　　The third story was originally called “Sentiments Like Water", but because it was made into the much better known film, East Palace, West Palace, the translators have chosen the f

13、ilm title for the story. The plot centers on a homosexual relationship between a man and a young policeman, both of whom are married. Playing off the research Wang did with his wife Li Yinhe in their book on male homosex

14、uals in China entitled Their World: A Study of the Male Homosexual Community in China, this fictional</p><p>　　Xiao Shi ordered Ah-Lan to squat at the base of the wall. Squatting on his left was an art profe

15、ssor, and on his right a construction worker, three of them altogether…The rule here was to make them take the lowest squatting position…They were made to squat this way so they could think about their errors, but normal

16、 people would only think about shitting while squatting like this. That was how the nature of their errors could be determined—their errors were very dirty, and other ways of squatting</p><p>　　Although Wang

17、 often writes about love and sex, he frequently sets his stories during the ten years of the Cultural Revolution, from 1966 to 1976, when writing about physical intimacy was virtually forbidden. Yet even during the time

18、when Wang was publishing, statements against overly energetic, invasive state control (including those that do not focus on resistance) had been common in China for years, and this anti-state perspective alone cannot acc

19、ount for the enthusiasm that readers feel for W</p><p>　　More important, Wang's fiction offers a deep critique of the Chinese past in its sense of time, softening the revolutionary time of political move

20、ments, with their characteristic expressions of passionate loyalty and historical innocence. His writing eats away at the immediacy, deeply held emotion, clear-cut expression of position, optimism, and drive toward progr

21、ess that make up the revolutionary spirit. This more philosophical time combines with a quiet immediacy in the sexual encounters he po</p><p>　　The translation by Zhang and Sommer is excellent. It both expre

22、sses the meaning of the original and also catches the simple, colloquial, and direct language that is Wang Xiaobo's trademark. His gentle mocking of the language of logic in The Golden Age, the charm he extracts thro

23、ugh his concrete scene description in 2015, and the abbreviated vernacular in East Palace,West Palace all come through in the joint translation between a poet (who, I assume, does not understand Chinese), and a literatur

24、e</p><p>　　(From http://mclc.osu.edu/rc/pubs/reviews/larson2.htm)</p><p><b>　　王二的愛欲枷鎖</b></p><p>　　王小波在《2015》中寫道：“我舅舅犯的只是輕罪，但特別的招人恨?！?《2015》是長(zhǎng)篇小說《白銀時(shí)代》的一部分，也是張洪凌和杰森·

25、;索摩所譯《王二的愛欲枷鎖》（共收錄三個(gè)中篇）的第一篇?！?015”指的是未來的一段時(shí)間，到那時(shí)畫家如果沒有執(zhí)照是不能作畫的，除非別人能看懂他們的畫。王小波解釋道：“這是因?yàn)樗漠嬚l也看不懂，五彩繽紛，誰也不知畫了些什么。有一次我看到一位警察大叔手拿著他的畫，對(duì)他厲聲喝斥道：小子──站起來說話──這是什么？你要是能告訴我，我替你蹲著！我舅舅側(cè)過頭來看看自己的作品，又蹲下去說：我也不知這是什么，我還是自己蹲著好了?！?張洪凌,杰森

26、3;索摩，2007:4-5)</p><p>　　蹲是王小波（1952-1997）小說中一個(gè)頗具象征意義的重要行為，這在當(dāng)代中國(guó)已成為一種現(xiàn)象，尤其是在知識(shí)分子中。如今王小波飽受爭(zhēng)議的三部中篇小說首次被翻譯成英語出版。王小波1980年就開始發(fā)表小說，但一直名不經(jīng)傳，直到1995年他的《黃金時(shí)代》在臺(tái)灣榮獲一頗負(fù)盛名的獎(jiǎng)項(xiàng)才一舉成名。1968～1970年文化革命期間，王小波——如同他作品中無處不在的人物王二一樣——

27、在云南插隊(duì)兩年，向群眾學(xué)習(xí)生產(chǎn)勞動(dòng)?；乇本┖?，他在一家工廠做了四年工人。1978～1982四年間，在中國(guó)人民大學(xué)貿(mào)易經(jīng)濟(jì)系學(xué)習(xí)。任教兩年后到美國(guó)匹茲堡大學(xué)深造，獲得了東亞研究中心的碩士學(xué)位。1988～1991年，在北京大學(xué)社會(huì)學(xué)所做講師，此后成為自由撰稿人。王小波投入寫作僅六年時(shí)間便于1997年心臟病發(fā)作病逝。 </p><p>　　張洪凌和索默開篇先簡(jiǎn)單介紹了王小波的生活和工作。他們提到2005年在魯迅博物館舉

28、行的王小波生平展，由此表明王小波作為一名作家逐漸在文壇上聲譽(yù)雀起，還表明一些幫忙組織此次展覽的人試圖幫他增加人氣，比如他的妻子李銀河（北京大學(xué)社會(huì)學(xué)教授）。張洪凌和索默還交代了王小波生平的一些細(xì)節(jié)問題，了解這些細(xì)節(jié)對(duì)閱讀他的小說大有裨益：他是個(gè)馬克吐溫迷，他哥哥是圖蘭大學(xué)的哲學(xué)博士，他父親則是一位著名的邏輯學(xué)家。他們還提出了一些精辟的解釋性評(píng)論：王小波堅(jiān)持不肯將經(jīng)歷過文革的知識(shí)分子描繪成“悲劇英雄”；王小波的許多小說都與“支配與臣服”有

29、關(guān)；王小波的風(fēng)格是與眾不同的。遺憾的是，他們也免不了作出一些陳詞濫調(diào)的評(píng)論，例如“愛才是真正的罪孽，是最終令當(dāng)局驚愕的東西。由此，我們得出諷刺的結(jié)論：正如敘述者所清楚觀察到的，當(dāng)局最畏懼的東西正是作者最珍視的?！痹谖铱磥?，愛情無價(jià)論并不是王小波通過獨(dú)特的風(fēng)格、主題和話題想要表達(dá)的精妙而又引人入勝的觀點(diǎn)。 </p><p>　　然而，王小波在某種程度上的確運(yùn)用了“反專制”的手法，雖然他的重心并不真在抵抗上。這一點(diǎn)在

30、三篇小說中的第二篇——《黃金時(shí)代》（被公認(rèn)為王小波最好的作品）是很明顯的。這部1994年的作品以處理性欲和男女關(guān)系的另類手法震撼了許多人，評(píng)論界的稱贊聲不絕于耳。《黃金時(shí)代》講述的是王二與陳清揚(yáng)之間的男女關(guān)系。王二當(dāng)時(shí)21歲，陳清揚(yáng)26歲，是一名已婚女醫(yī)生。這篇小說以文化大革命為背景，男女主人公都是響應(yīng)毛主席號(hào)召上山下鄉(xiāng)，與人民群眾共同勞動(dòng)的城市知青。兩人非法的性關(guān)系使得他們要挨批斗、寫檢討、受侮辱，但這些試圖控制他們的暴力之舉在這部黑

31、色幽默的戲仿故事中卻不奏效。對(duì)領(lǐng)導(dǎo)來說，閱讀王二詳細(xì)的交代材料比改造王二更令人感興趣，為了第二天仍有材料可看，領(lǐng)導(dǎo)甚至安排他們住進(jìn)招待所，讓他們專心寫材料。盡管主人公對(duì)交媾的興趣不減，但在《黃金時(shí)代》中有一點(diǎn)是我們沒有看到的，即深陷性欲的囹圄，或者說是狂熱愛情的衰減。隨著敘述者年齡的增長(zhǎng)，更多的是強(qiáng)調(diào)一種平和的，冷靜的，婉約的諷刺，而不是一味地反專制，即使以個(gè)人的形式也不然。</p><p>　　書中的第三個(gè)故事

32、原名“似水柔情”，但因?yàn)楦鶕?jù)它改編的電影《東宮西宮》更具知名度，譯者選擇用影片的名字作為譯名。故事主要講述的是一名男子和一名年輕警察之間的同性關(guān)系，兩人均已為人夫。這個(gè)虛構(gòu)的故事充分利用了王小波與妻子李銀河的合著《他們的世界——中國(guó)男同性戀群落透視》中對(duì)中國(guó)男同性戀者的研究，主要從精神上表現(xiàn)權(quán)力、屈服和支配三者之間的關(guān)系?；诿绹?guó)人的思維定式，這種同性關(guān)系的刻畫也許會(huì)給他們帶來震撼，王小波向國(guó)人赤裸裸地披露了同性戀者在中國(guó)所遭受的迫害：

33、 </p><p>　　小史命阿蘭蹲在墻根下。蹲在他左面的是一個(gè)教藝術(shù)的教授，蹲在他右面的是一個(gè)搞建筑的民工，一共是三個(gè)人……這里的規(guī)矩是要他們用最低的蹲法……人家要求他們這樣蹲著想想自己的錯(cuò)誤，而正常的人這樣蹲著時(shí)只會(huì)想到屙屎。這樣就給他們的錯(cuò)誤定了性——這種錯(cuò)誤十分的骯臟，而另外的蹲法就不那么骯臟，因而背離了他們錯(cuò)誤的性質(zhì)，所以被禁止。(張洪凌,杰森·索摩，2007:124)</p>

34、<p>　　雖然王小波常寫愛情與性，但他常把小說的背景設(shè)定在文化大革命（1966～1976）那個(gè)禁止描寫肉體關(guān)系的年代。在王小波出書的時(shí)候，多年來反對(duì)國(guó)家機(jī)器過度操控（包括那些不強(qiáng)調(diào)抵抗）的言論在中國(guó)已司空見慣，但僅僅是這種反專制的觀點(diǎn)并不足以解釋讀者對(duì)王小波作品的熱情。中國(guó)讀者時(shí)常稱贊王小波的反革命精神，還愉悅地發(fā)現(xiàn)閱讀他的作品能夠帶來純粹的樂趣。中山大學(xué)的艾曉明教授一直是位王小波迷,他曾評(píng)論道：“閱讀本身就使人陶醉，以幽默

35、和智慧給人以全新的感受，簡(jiǎn)直不需要再去追尋它的內(nèi)在含義?！?艾曉明，1997:270)這樣的評(píng)論得到了其他人的認(rèn)同。毫無疑問，文學(xué)知識(shí)分子的職業(yè)靠的是分析和闡釋，但他們卻認(rèn)為王的作品絲毫不需要加以分析，其內(nèi)涵就像道教教義一樣可以直接領(lǐng)悟。這一發(fā)現(xiàn)真是非同凡響。有人欣賞他對(duì)性的直言不諱，對(duì)男女感官樂趣直白的描寫，以及他那簡(jiǎn)潔優(yōu)美的語言——譯者很好地捕捉了這種語言的神韻。王小波筆下主角們的個(gè)性也很重要：他們把現(xiàn)實(shí)絕對(duì)非理想化，滿足身體的欲望

36、，并以巧妙的幽默觀點(diǎn)來看待問題。 </p><p>　　更重要的是，王小波的小說深刻地批判了中國(guó)的特定歷史時(shí)期，同時(shí)又用革命時(shí)期政治運(yùn)動(dòng)表現(xiàn)出來的激昂的忠誠(chéng)和歷史的無辜緩和了矛盾。他的作品慢慢消磨了緊迫感、深藏不露的情感、鮮明的表達(dá)立場(chǎng)和樂觀的態(tài)度，漸漸形成了革命精神。這段冷靜的時(shí)期與他描繪的性接觸中靜謐的緊迫感融合在一起，產(chǎn)生了深刻的非革命生命意識(shí)。批評(píng)家楊健說，“我們很難想象在中國(guó)文化的內(nèi)部，會(huì)有王小波這樣的

37、人出現(xiàn)?！?楊健，2002:447)王小波筆下的人物往往表現(xiàn)出一種共同的心態(tài)：不愿正面進(jìn)行反抗，但為了獲得自己想要的東西頑固地持之以恒，尊重高尚的道德品質(zhì)（如忠誠(chéng)），卻又不乏適度的無賴式反叛精神。這種無賴式精神旨在抵賴，如同革命精神一樣，可能來源于過去，但同時(shí)也為未來鋪平了道路。就這樣，王下波用反諷的手法為這段聲名狼籍的歷史卸下了沉重的負(fù)擔(dān)。 </p><p>　　張洪凌和索默的譯文可謂妙筆生花。既傳達(dá)了原著的涵

38、義，又成功再現(xiàn)了王小波簡(jiǎn)單直接的口語化表達(dá)。他在《黃金時(shí)代》對(duì)語言邏輯溫和的嘲弄，在《2015》描繪具體場(chǎng)景的語言魅力，以及在《東宮西宮》對(duì)方言的簡(jiǎn)潔運(yùn)用，這一切都通過芳邦大學(xué)一名詩人（我認(rèn)為他并不懂中文）和一名文學(xué)教師（肯定懂中文）的合譯淋漓盡致地表現(xiàn)了出來。通過翻譯王小波的作品，他們?yōu)槲覀兯薪淌诂F(xiàn)代中國(guó)文學(xué)的老師提供了方便。因?yàn)樽g者已捕捉了原著易于閱讀但犀利深刻的語言風(fēng)格，此書理應(yīng)成為一本廣受歡迎的現(xiàn)代文學(xué)翻譯教材。對(duì)于他們的努力