论文学翻译中的创造性叛逆

On Creative Treason in Literary Translation

Abstract
  
     The term “creative treason” was first coined by Robert Escarpit, the French sociologist, who states that translation is always a kind of creative treason. The process of literary translating is complicated and it can be classified into two steps: comprehending and expressing. These two processes are creative, which determine the unavoidability of creative treason. This thesis will discuss  unavoidability from two angles: semiology and cultural differences. Creative treason is classified into four categories by Professor Xie Tianzhen: individualized translation, mistranslation, omission, and translation editing. Individualized translation includes domestication and foreignization; mistranslation consists of unconscious mistranslation and conscious mistranslation; translation editing, to some extent, is a kind of omission. Faithfulness is the first principle that the translator has to consider; however, creative treason is a conscious conduct made by translator to achieve specific goals either for being faithful to the original or for satisfying the target reader. According to the examples, the author will illustrate these contradictions and conclude the methods to control the limit of creative treason.

Key Words: literary translation; creative treason; unavoidability; faithfulness

摘 要

“创造性叛逆”这1术语是由法国文学社会学家罗伯特•埃斯卡尔皮提出的。他认为：“翻译总是1种创造性叛逆。” 文学翻译的过程分为理解和表达两个过程,这两个过程都是创造性叛逆的。这决定了创造性叛逆的不可避免性。本文从符号学和文化差异这两个角度阐述文学翻译中创造性叛逆的不可避免性。在此基础上介绍创造性叛逆的种类：个性化翻译，误译，节译以及编译。个性化翻译又分为归化和异化；误译分为有意识误译和无意识误译；编译在某种程度上也是1种节译。忠实是译者在翻译文学作品时第1个必须要考虑的原则，而创造性叛逆是译者为了达到忠实于原文和满足读者的需求的目的而采取的有意识的翻译手法。本文将根据所举的例子来分析忠实和叛逆的矛盾，并进1步阐述译者要如何把握创造性叛逆的限度。

关键词：文学翻译、创造性叛逆、不可避免性、忠实

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