期刊抢鲜 | The Translator第29卷第1期|translator|德里达|文学|期刊|翻译|诗学|诗歌

The Translator

Volume 29, Issue 1 (2023)

The Translator is a peer-reviewed international journal that publishes original and innovative research on a variety of issues related to translation and interpreting as acts of intercultural communication. By welcoming work based on a range of disciplinary perspectives and methodologies, The Translator supports both researchers and practitioners, providing a meeting point for existing as well as developing approaches. It aims to stimulate interaction between various groups who share a common interest in translation as a profession and translation studies as a discipline.

The Translator是一份同行评议的国际期刊，发表与作为跨文化交流行为的笔译和口译有关的各种问题的原创和创新研究。通过欢迎基于一系列学科观点和方法的工作，The Translator支持研究人员和从业人员，为现有和发展中的方法提供一个交汇点。它旨在激发对翻译这一职业和翻译研究这一学科有共同兴趣的不同群体之间的互动。

Articles

Re-reading Jacques Derrida’s ‘Qu’est-ce qu’une traduction “relevante”?’ (What is a ‘relevant’ translation?)

Kathryn Batchelor

Abstract

Within translation studies, Derrida’s (1999a/2012) lecture ‘Qu’est-ce qu’une traduction “relevante”?’ (What is a ‘relevant’ translation?) has been read as being a lecture that is about translation. However, the recently published Le Parjure et le Pardon [Perjury and Pardon]shows that Derrida recycled a large portion of the material from his two-year seminar on forgiveness. In this paper, I explore the possibility that Derrida’s lecture is not really about translation in any theoretical or general sense at all. Instead, I suggest that the primary interest of the lecture for today’s translation studies scholars lies in Derrida’s act of prowling around the French word ‘relever’. This word – which Derrida terms a ‘translative body’ – is crucial to Derrida’s exploration of the system of exchange and redemption within which mercy itself is inscribed. A close reading of the section of the lecture in which this translative body is put to work underscores the ability of translation to serve as catalyst for philosophical enquiry.

在翻译研究中，德里达（1999a/2012）的讲座 "Qu'est-ce qu'une traduction "relevante"? (什么是'相关'的翻译？) 被解读为是关于翻译的讲座。然而，最近出版的Le Parjure et le Pardon[伪证与赦免]显示，德里达从他为期两年的关于赦免的研讨会中回收了很大一部分材料。在本文中，我探讨了一种可能性，即德里达的讲座根本就不是关于任何理论或一般意义上的翻译。相反，我认为，对于今天的翻译研究学者来说，讲座的主要兴趣在于德里达在法语单词 "relever "周围徘徊的行为。这个词--德里达称之为 "翻译体"--对于德里达探索交换和赎回的体系至关重要，而仁慈本身就被刻在这个体系中。仔细阅读讲座中这个翻译体发挥作用的部分，强调了翻译作为哲学探索的催化剂的能力。

Keywords: Derrida, translation, relevance, philosophy, untranslatability, forgiveness

关键词：德里达，翻译，相关性，哲学，不可翻译性，宽恕

Recasting the unspeakable: pain, suffering and loss

Lorena Terando

Abstract

The cultural disruption Colombia has endured through civil strife, the shape of which has shifted through the centuries, has been chronicled in testimonios by women participants in and witness to events connected to the ongoing war. Testimonios exist to counter the official memory of events, and these women writers negotiate the challenges of re-constructing memory by baring their personal pain to take their stories to a broader audience. The author considers the challenges we face when representing pain or trauma, in language and from one language into another, in settings as diverse as medicine and literature. Writers rely on the art of rhetoric to convey pain in language, employing empathy as a strategy to offer us access to painful, traumatic events, calling on us to acknowledge pain and forging possibilities for deeper understanding of our universal humanity.

哥伦比亚在内乱中经受的文化破坏，其形态在几个世纪中发生了变化，在与持续战争有关的事件中的妇女参与者和目击者的证词中都有记录。证言的存在是为了反驳官方对事件的记忆，而这些女作家通过袒露她们的个人痛苦，把她们的故事带给更多的读者，来谈判重新构建记忆的挑战。作者考虑了我们在医学和文学等不同环境中用语言和从一种语言到另一种语言来表现痛苦或创伤时所面临的挑战。作家们依靠修辞艺术在语言中传达痛苦，将移情作为一种策略，为我们提供接触痛苦、创伤事件的机会，呼吁我们承认痛苦，为更深入地理解我们的普遍人性创造可能性。

Keywords: Translation, pain, women writers, rhetoric, empathy, Colombia, testimonio

关键词：翻译，痛苦，女作家，修辞学，移情，哥伦比亚，证言

Poems about translation: a neglected form of theory

Kelly Washbourne

Abstract

This work is premised on the assertion that poems about translation can offer a way of doing theory, providing a resource that may elude rational discourse and reach the reader at least partly through eliciting aesthetic response. In many cases the poems presented and discussed are well known and broadly resonant; in others, quite obscure ‘occasional’ poems, but as a whole they show great teachable potential as a set of interrelated cases. Subgenres that poems about translation take, such as the verse epistle and the translator’s prefatory poem, are discerned, and ten subtypes of translation themes–such as the translator’s identity, translation framing and criticism, apologia for translation, advice to the translator – are distinguished in this non-exhaustive canon, and one may historicise and draw further conclusions about the poems in or against their respective eras of composition. The pedagogical usefulness of these works is strengthened by the analytical attention given to key features of the texts for elucidating principles, thematics, and historical debates on literary translation for the classroom.

这项工作的前提是，关于翻译的诗歌可以提供一种理论的方式，提供一种可能避开理性话语的资源，至少部分地通过激发审美反应来接触读者。在许多情况下，所介绍和讨论的诗歌都是众所周知的，并能引起广泛的共鸣；在其他情况下，则是相当晦涩的 "偶发 "诗歌，但作为一个整体，它们作为一组相互关联的案例显示出巨大的教学潜力。关于翻译的诗歌所采取的子类型，如诗集和译者的序言诗，被辨别出来，翻译主题的十个子类型--如译者的身份、翻译的框架和批评、翻译的道歉、对译者的建议--在这个非详尽的典籍中被区分出来，人们可以对这些诗歌在其各自的创作时代或与之相对应的时代进行历史化并得出进一步结论。这些作品的教学用途因其对文本关键特征的分析关注而得到加强，这些文本可用于阐明原则、主题和课堂上关于文学翻译的历史辩论。

Keywords: Translation theory, metatranslation, translation criticism, metaphors of translation, the translator’s identity

关键词: 翻译理论，元翻译，翻译批评，翻译的隐喻，译者的身份

The prism of self-translation: poiesis and poetics of Yu Guangzhong’s bilingual poetry

Simona Gallo

Abstract

The activity of self-translation may be seen as a mise-en-scène of the hybrid auctorial self, as well as an ideal stage for a reconstruction of meanings, through a second original. As a (re)creative paradigm, self-translation echoes the concept of poiesis as a ‘bringing into appearance’, according to Heidegger’s interpretation, namely as a crystallisation of the refracted facets of language and self. In this connection, the genetic approach may represent a tool to access the aesthetic world of the writer (the poietes) and to explore his (re)creative process. This paper discusses the case-study of the distinguished Taiwanese poet Yu Guangzhong (1928–2017), and his self-translated poetry collected in Shouye ren 守夜人/The Night Watchman. Through a comparative reading of three selected bilingual poems with their manuscript versions, this paper aims to investigate Yu’s poetics of self-translation, while observing through the multi-layered spectrum of a linguistic and cultural rendering.

自我翻译的活动可以被看作是一个混合结构性自我的场景，也是一个通过第二原件重建意义的理想舞台。作为一个（重新）创造的范式，自我翻译呼应了海德格尔解释的poiesis的概念，即作为语言和自我的折射面的结晶，是一种 "带入外观"。在这方面，遗传学方法可以代表一种进入作家（poietes）的审美世界和探索其（再）创作过程的工具。本文讨论了台湾杰出诗人余光中（1928-2017）的案例研究，以及他收集在《守夜人》中的自译诗歌。通过对所选的三首双语诗及其手稿版本的比较阅读，本文旨在研究余光中的自译诗学，同时通过语言和文化渲染的多层次光谱进行观察。

Keywords: Self-translation, poiesis, poetics, creativity, hybrid, bilingualism

关键词：自译，诗歌，诗学，创造力，混合，双语主义

In defense of Ezra Pound’s “graphological” translations

Duncan James Poupard

Abstract

The Chinese translations of Ezra Pound, particularly those which feature his method of deconstructing individual Chinese characters, have frequently been criticised by scholars of sinology, and his translations have as such been classified as something ‘other’ (as ‘poet’s versions’ or ‘re-creations’) within translation studies. This paper attempts to reclaim Ezra Pound’s ‘etymographic’ translations as translation proper, at the same time widening the scope of the near-defunct term ‘graphological translation’. It will be shown that graphological translation can be performed when visual semantics are given priority over lexical semantics, and as such graphological translation cannot be judged by the successful (or otherwise) transfer of lexical meaning. It is easiest to approach Pound’s treatment of Chinese (as a semantically charged ‘motivated’ writing system) using his previously ignored translations out of the highly visual Naxi script, a minority writing of southwest Chinese, that can be seen in his late poetry notebooks. Pound treats both character scripts as essentially ideographic and in translation highlights the graphological semantics of the source writing.

埃兹拉-庞德的中文翻译，尤其是那些以他解构单个汉字的方法为特色的翻译，经常受到汉学学者的批评，他的翻译也因此被归类为翻译研究中的 "其他 "东西（如 "诗人的版本 "或 "再创造"）。本文试图将埃兹拉-庞德的 "词源学 "翻译重新纳入翻译的范畴，同时扩大 "图解学翻译 "这个几乎已经失效的术语的范围。它将表明，当视觉语义优先于词汇语义时，可以进行图解学翻译，因此，图解学翻译不能以词汇意义的成功（或不成功）转移来评判。最容易接近庞德对中文（作为一种语义上的 "动机 "书写系统）的处理的是他以前忽略的对高度视觉化的纳西文的翻译，纳西文是中国西南地区的少数民族文字，在他后期的诗歌笔记中可以看到。庞德将这两种文字脚本视为本质上的表意文字，并在翻译中强调了源文字的图形学语义。

Keywords: Ezra Pound, graphological translation, writing systems, Naxi, ideographs

关键词：埃兹拉-庞德，图形学翻译，书写系统，纳西语，表意文字