典籍翻译专刊｜陶源、顾宠龙：重述的中国神话：三个《西游记》删节译本的
英语辅导书副⽂本对⽐分析
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♢本⽂刊于《翻译界》2020年第2期（总第10期）。本⽂版权归《翻译界》所有，转载时请注明出处。
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作者简介少女时代the boys歌词
Yuan TAO（陶源）is Associate Professor of Translation Studies and the deputy chair of the Translation Department at Dalian University of Technology. Her rearchinterests include literary translation, translation theory, and translation pedagogy. Her current rearch focus on the translation of Chine classics and early Chine history. She has published scores of papers and is a recognized translator.
Email: taoyuan@dlut.edu
Chonglong GU（顾宠龙）is the lecturer in Chine Translation Studies and programme director of MA in Chine-English Translation and Interpreting at the University of Liverpool. He holds an MA in Conference Interpreting and Translation Studies (Leeds University) and a PhD in Interpreting Studies (Manchester University). His rearch has been published in Target , The Translator , Perspectives , Discour, Context and Media , Critical Discour Studies , Translation and Interpreting Studies and various book chapters (e.g. Springer, Routledge, and Peterlang).
Email: Chonglong.Gu@liverpool.ac.uk
Abstract
新时代学校
Over the past century, the hundred-chaptered Chine classic Xiyou ji ( Journey to the West ) has been abridged into English many a time, with the three most influential versions translated by Timothy Richard (Wu, 1913), Arthur Waley (Wu, 1942), and Anthony Yu (Wu, 2006), respectively. On the basis of paratextual analysis and the narrative theory, this article explores the diachronic reframing of the three English abridgments of the Chine classic. It is found that the three versions keep the basic structure of the ST, prenting the monkey as the dominant hero of the book. However, the translators reposition the genre: Richard takes the classic as an epic and allegory, Waley as a folk tale, and Yu as an allegory and religious syncretism. Accordingly, the narrative is reframed under different paratextual elements. Richard reframes the novel as a Christian counterpart of the mission to heaven, Waley a folk tale compounded with religious, historical, and sarcastic elements, and Yu the karma and redemption of the monkey and the monk. Furthermore, the three versions also help construct the book’s narrative accrual in the West, popularizing the Chine religious fantasy with a monkey’s story. The stereoscopic reading of the abridgments illustrates that the renarration helps popularize Chine mythology, religion and culture to the Western readers. Thus, the narrative accrual of a religious allegory is constructed in the West, which is conducive to enhance the status of Chine novel. Keywords:paratext; narrative reframing; lective appropriation; narrative accrual; Xiyou ji; Journey to the West
摘要
⼗九世纪，中国经典百回名著《西游记》多次经删节译成英语。其中，三个节译本最具影响⼒，译者分别是李提摩太（1913）、亚瑟·威利（1942）和余国藩（2006）。基于副⽂本分析与叙事理论，本⽂探讨了三个英译本的历时性重构。研究发现，三个译本都保留了原⽂的基本结构，将孙悟空作为⼩说主⼈公，但译本体裁有所不同：李提摩太将这部经典作品改成了史诗和寓⾔，亚瑟·威利的译本为民间故事，余国藩的译本则是宗教和寓⾔的融合。因此，各译本的叙事在不同的副⽂本元素中得以重构：李提摩太的译本是与基督教对应的天国使命，亚瑟·威利的译本是包含了宗教、历史和讽刺元素的民间故事，余国藩的译本则体现了孙悟空与唐僧的因果报应和救赎。此外，三个译本也推动了该书在西⽅的累积叙事，使这个展现了东⽅宗教⾊彩的猴⼦故事在西⽅社会⼴受欢迎。这些删节版译本为读者带来了⽴体的阅读感受，表明叙事重构有助于向西⽅读者普及中国神话和⽂化。因此，在西⽅构建这部宗教寓⾔的累积叙事，有利于提升中国⼩说的地位。
关键词：副⽂本；叙事重构；选择性采⽤；叙事累积性；《西游记》
Introduction
In recent years, rearchers have shown an incread interest in narrative in translation studies (Aljahdali, 2016; Harding, 2012). Translation is never a romantic reprentation of a bridge-builder, b
ut the “lective reprentations ofsnow leopard
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Harding, 2012). Translation is never a romantic reprentation of a bridge-builder, but the “lective reprentations of reality” (Baker, 2008, p. 27). Narrative theory provides a dynamic and subjective viewpoint since no one can be totally objective in the process of re-narration when the translators reframe the narratives with their lection of translated texts, change of titles and many other manipulative devices. Grounded on the narrative theory framework, this paper eks to reprent the diachronic narrative reframing of the three English abridgments of Xiyou ji 西游记 ( Journey to the West , hereafter XYJ) through paratextual analysis.
succeedsNarrative can be simply defined as a story with the structure, time, and perspective. It is “the shape of knowledge as we first apprehend it” (Fisher, 1987, p. 193), which is prevalent in all the text types. Briggs claims that narratives “constitute crucial means of generating, sustaining, mediating and reprenting conflict at all levels of social organization” (1996, p. 3). Narrative discusd in this article is viewed from the sociological viewpoint. Different from classic narrative, literary studies and linguistics, social theory tends to take narrative as a mode of experiencing the world. Somers (1992, 1997) categorized four basic narrative typologies: ontological, public, conceptual and meta-narratives. Ontological narrative is a personal account of the event. Public narrative is the story circul
ating among social and institutional formations. Conceptual narrative is the concept and explanation that we construct as social rearchers. Meta-narrative is narrative “in which we are embedded as contemporary actors in history” (Somers, 1992, p. 605). The four narratives, interrelated at different levels, influence each other as both interpersonal and interdependent elements. Mona Baker (2006) applied the narrative theory into translation bad on the quadripartite classification of Somers (1992) and the features by Bruner (1991). Translation is a public narrative through which the translated version is spread across the borderline to a wider audience (Baker, 2006, p. 38). Therefore, translators reprent and construct a story through different viewpoints as the narrators of the story. The core concept of narrative theory in translation is story reframing.takeashower>when
Most studies of XYJ have focud on the classic narrative, religion and the allegories in the novel. A number of rearchers have revealed its internal structure from the conceptual models in classic narrative or the narrative tradition of Chine fiction (Plaks, 1996; Gu, 2006). Some studies have reported the ideological analysis from Confucianism, Buddhism and Taoism (Shao, 2006), the allegorical meaning of the Buddhism interpretation, the empty ures of the last chapters, and the alchemical lf-cultivation in the novel (Bantly, 1989; Hui, 2015; Wang & Xu, 2016). More recently, Hao Ji (2016) compares the textual feature and the protagonist between Waley and Yu’s abridgment
s. Nonetheless, few writers have drawn on the rearch into the narrative reframing of the three abridgments.
language是什么意思
Recently rearchers have examined the effects of paratext on narrative. Kim (2017) applies paratext to the narrative reframing of WWII translation. Qi (2016) conducts paratextual analysis of agency, habitus, and capital in the translation of Jin Ping Mei ( The Golden Lotus ). The three abridgments of XYJ vary greatly in the paratextual materials of the title, subtitle, intertitle and lection of episodes becau of the translators’ different historical backgrounds and individual identities. This paper eks to analyze the dynamic narrative reframing and the narrative accrual through a paratextual analysis of the three abridgments. Narrative accrual was propod by Bruner as the stories cobbled together “to make them into a whole of some sort” (Bruner, 1991, p. 18). Mona Baker redefines it “more broadly as the outcome of repeated exposure to a t of related narratives, ultimately leading to the shaping of a culture, tradition, or history”(Baker, 2006, p. 101). The ontological and public narratives help construct the narrative accrual which shapes the cultural, ideological and historical metanarrative as the result of repeated and diachronic narratives.
On the basis of the three abridgments of XYJ from 1913 to 2006, this study tries to address the following three rearch questions: (1) How do the three translators reframe the story through their p
aratextual materials? (2) As the translators abridge the three English versions in different historical periods, what is the diachronic narrative reframing of the abridgments in almost a century? (3) All the three abridgments have been reprinted many a time by the influential publishers such as Penguin, Tuttle Publishing, and University of Chicago Press even in the 21st century. What is the narrative accrual of the Chine classic in the West?
The article begins with the theoretical concerns related to narrative framing in paratextual materials. Then it elaborates the dynamic narrative reframing by labeling, the lective appropriation of textual materials, the reposition of the main figures and the temporal and spatial reframing on the basis of the paratextual elements of the title, intertitles, and notes, etc. Furthermore, it explores the dynamic narrative reframing and narrative accrual of the Chine classic in spite of the paratextual variances in the three abridgments. Through the stereoscopic reading (Ro, 2007, p. 90) between the source text and three abridgments, it is expected to provide a hermeneutic understanding in the interlinear space.
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