文学翻译模糊取向之数字视角
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摘要
本论文选择数字作为一个切入点,结合模糊学理论的主要概念,集中讨论了文学翻译这一重要领域,并在《西游记》双语平行语料库的基础上进行定性和定量的分析,旨在证明数字在文学创作中所表现出的模糊性,并进而佐证文学翻译如同文学自身一样,必然趋向模糊。
论文共分七章。第一章为绪论,阐述了论文的源起和论文的定位,主要包括研究方法和研究意义。第二章进行了文献综述,重点阐述了此篇论文之前人们在相关领域已经进行的研究,主要涉及到文学作品中的模糊数字及其翻译研究、语料库在翻译研究中的应用、《西游记》英译及其相关研究和文学翻译的模糊性研究。在此研究基础上,本论文从自选角度出发,在第三章里重点阐述了文学的模糊性,从文学的创作过程、文学语言本身和文学作品的接受过程三个层面进行了剖析,证实了文学自始至终就是一个模糊的过程。在第四章里,首先对数字进行了界定,然后对比了中英数字的异同,接着重点阐述了数字在语言和文化两个层面的典型应用,当然更为重要的是在本章里从模糊学的角度阐述了文学作品中模糊数字存在的根源、分类、修辞作用及其美学功能,说明模糊数字在构成文学的模糊美方面功不可没。接下来的第五章里论述的是文学翻译的模糊取向,这也是本论文要集中阐释的一个观点,首先结合前人研究的基础,对文学翻译的定义进行了重新厘定,然后在此基础上以翻译标准为视角,梳理了中外具有代表性的译论所提出的观点和主张,指出这些理论背后都存在有意无意的模糊性,然后结合翻译实践的特点,从翻译过程、翻译方法和译者定位三个方面进行佐证,最后结合翻译理论中的两个重要组成部分,即翻译标准和翻译批评,全方位地证明了文学翻译自身难免的模糊取向。这些理论分析得出的结论将会在接下来的第六章里得到佐证,因为在这一章里将借助《西游记》汉英双语平行语料库对比数字在原著和译著中的使用情况,在量化分析的基础上,结合传统的译例对比定性分析,证明数字在构造文学作品过程中存在的模糊性,以及翻译过程中对于这些模糊数字存在的模糊处理,从而直观地证明了文学翻译必然趋于模糊这一取向。而论文的最后一章作为结论,主要概括总结了前面几章的主要发现,并阐释了“数字视角”的双重含义:一是论文选取的研究切入点为文学作品中的“模糊数字”,二是借助语料库这种量化研究的平台,借助具体的“数据”来佐证定性研究得出的结论,旨在为文学翻译的模文学翻译模糊取向之数字视角——基于《西游记》的语料库研究糊研究提供另一个维度的参考。
从论文的立意和创新而言,本人认为有如下几点算得上是一种有益的尝试:第一,论文首先阐释了文学自身存在的模糊性,然后在前人研究的基础上重新厘定了文学翻译的定义,引入模糊理论的核心概念对中外具有代表性的译论主张进行梳理,在此理论基础上提出文学翻译必然趋向模糊这一命题;第二,论文选择数字作为研究的切入点,不仅整体全面地阐释了数字在文学作品中的模糊应用,还结合《西游记》中的重要数字及其翻译进行定性和定量的比较分析,从而更为客观全面地展示数字在《西游记》中的重要性及其在英译时所经过的模糊处理,并进而佐证文学翻译这一模糊取向;第三,论文的理论视角和研究方法存在创新,从本人掌握的数据资料来看,目前国内还没有人从模糊学的理论视角并借助汉英平行语料库对《西游记》中的数字进行系统的研究,并将其延伸到整个文学翻译领域,所以这也应当算是这篇论文的意义所在。当然,由于主客观因素的局限,这篇论文还存在很多值得进一步深入求证的话题,例如就研究对象而言,论文目前只是选择了《西游记》中的数字,如果可以扩大到其它三部名著,甚至整个典籍的翻译,也许整理出来的数据就更具有参照性和说服力;
另外,就数据库而言,如果能够建立《西游记》和几个不同英译版本的平行对照,那将为翻译的对比研究提供更为广阔的平台;再者,就研究深度而言,论文还可以在定性和定量方面进一步展开,比如专门选取所有的韵文及其中数字的应用实例进行比较研究。这些都将是本人今后研究和努力的一个主要方向。
Intended to evidence the fuzzy orientation in literary translation, this dissertation presents a corpus-based research on the important numerals in Xi You Ji or Journey to the West and their English translation in the hope that the comparative studies, both qualitative and quantitative, can shed some light on the inherent fuzziness of literature and the pragmatic fuzziness of numerals as well as the penetration of fuzzy theory into literary translation in terms of both practice and theoretical study.
Numerals have been a personal interest for many years not only because we now live in a "digital era" where the numeral or "digitalization" permeates our daily life but also because numerical expressions help men of letters discover another dimension in their literary creations, that is, they enable the readers to feel the "fuzziness" and "emotional touches" of the originally precise numbers. It is a long-cherished wish, which dates back at least to my MA studies in SISU, to elaborate on that personal interest, develop it into a longer paper and in the meantime to embark on a new journey of discovering the mysteries behind the culture-laden numerals.
Both as linguistic and cultural icons, numerals boast a long history behind themselves, whose presence can be felt in almost every major field of human culture, such as philosophy, religion, ethics, politics, economics, military affairs, literature, folklore and so on. Through a comparative study about the numerals and the numerical expressions in different cultures we can develop a better sense of the differences and similarities among people from another perspective. Take Chinese culture for example, the Chinese people seem to have a special liking for numbers in that there is a much higher frequency of numbers and numerical expressions in the literary works, such as Xi You Ji or Journey to the West. However, after a literature review, I come to the pitiful conclusion that the relevant studies deserve much more attention because the previous studies are limited not only in amount but also in the ways they are done, which is totally out of proportion to the significant role that numbers have played in the plot construction, characterization and thematic manifestation of Xi You Ji or Journey to the West.
Xi You Ji or Journey to the West is one of the most beloved classics of Chinese literature, a fantastic tale recounting the sixteen-year pilgrimage of the Tang Monk (596-664), one of China's most illustrious heroes, who journeyed to India with four animal disciples in quest of Buddhist scriptures. For nearly a thousand years, his exploits were celebrated and embellished in various accounts, culminating in the hundred-chapter Xi You Ji, which combines religious allegory with romance, fantasy, humor and satire. The first seven chapters relate the birth of the Monkey King and his rebellion against Heaven. Then in chapter eight to twelve is explained how Tang Monk was born and why he is searching for the scriptures as well as his preparation for the journey. The rest of th story describes how they vanquish demons and devils, overcome many dangers, eventually arrive at the destination and find the Sutra.
Among other things, Xi You Ji or Journey to the West is chosen as the subject for the case study due to the following three reasons: firstly, ever since my childhood Monkey King has always been an idol and a symbol of a "super hero with a strong sense of responsibility and justice", who is as popular as the book and the television series based on it; secondly, numerals are more frequently used in this book than in the other classics, namely, Hong Lou Meng or A Dream of Red Mansions, San Guo Yan Yi or The Romance of The Three Kingdoms and Shui Hu Zhuan or The Outlaws of the Marsh, and are usually loaded with Chinese flavors and to some extent reflect the essence of the three major religions in China, that is, Confucianism, Buddhism and Taosim; thirdly, the comparison between the original and the translated versions is feasible not only because many English versions of Xi You Ji are available but because two full versions are published now, one from W.J.F. Jenner a British scholar who has spent many years working in China, the other from Anthony C. Yu a Chinese who has been teaching for many years in Chicago University in the USA.
In terms of methodology, this dissertation is an attempt to be part of the unfolding descriptive translation studies with the aid of parallel corpus, which is so far the best instrument for quantitative analysis. Since the late half of the 20th century, scholars have diverted their focus from the traditional prescriptive studies of the principles or techniques of translation to an interdisciplinary approach, which develops into the current corpus-based translation studies, a combination of corpus linguistics and descriptive translation studies. Internationally, Mona Baker's Corpus Linguistics and Translation Studies: Implications and Application (1993) marks the beginning of the new field of study, which is in essence an empirical study about the translation process and its final product with both qualitative and quantitative analysis. Armed with this new instrument, scholars are supposed to broaden their horizons, attempt new approaches and conduct more empirical studies, but after a general review of the domestic academic publications in the related field, I come to the conclusion that we have not yet brought into full play the potentials of corpus as a tool in quantitative studies, especially in the field of translation studies. The conclusion is based on the theme and the number of the papers previously written, which is far from a good sign for the domain as a whole but for me an opportunity because this dissertation is intended to be a case study of Xi You Ji aided by parallel corpus with a view to evidencing the fuzzy orientation in literary translation, a typical case of empirical study. And thanks to the teachers from University of Shaoixing (in Zhejiang Province of China), a Chinese-English parallel corpus of Xi You Ji is available online, which is a perfect platform for the comparative study of the numerals in Chinese and their counterparts in English.
Theoretically, the "fuzzy set theory" advanced by L.A Zadeh(1965) is adopted in this dissertation to illustrate the point on the following two accounts: for one thing, "fuzzy set", originally a mathematical term, has now gone far beyond the domain of mathematics and has been widely applied in both sciences and humanities and labeled as a revolution in our way of thinking; for another, translation as the most complicated inter-linguistic and inter-cultural activity, is by nature fuzzy both in the way it is practiced and theoretically studied, indicating that the only feasible way to describe it is the fuzzy approach. As a matter of fact, along with people's ever deeper insight into the fuzzy quality of human language grows the interest in the inter-textual or inter-lingual or inter-cultural rendering of the fuzziness, which gives rise to, justifying in the meantime, the fuzzy approach in translation, especially in literary translation. Another important concept is "fuzzy logic" which is a form of many-valued logic derived from fuzzy set theory to deal with reasoning that is fluid or approximate rather than fixed and exact. In contrast with "crisp logic", where binary sets have two-valued logic, fuzzy logic variables may have a truth value that ranges in degree between 0 and 1. Put more simply, fuzzy logic is a superset of conventional logic that has been extended to handle the concept of partial truth, where the truth value may range between completely true and completely false. To sum it up, the two major contributions of "fuzzy set" or "fuzzy logic" to translation and translation studies are: firstly, the quantitative study of translation is made possible. For example, the most widely observed translation standard "faithfulness" can be quantified from "0.1" to "0.9"; secondly, the seemingly differences and conflicts between different schools of thought or different translators can be reconciled since "fuzzy logic" suggests that it is no longer a case of "either A or B" but a case of "neither A nor B" or "both A and B" in that in most cases the truth is only partial truth, or in other words, the truth always lies somewhere in the middle. Thanks to the first contribution, translation studies is getting even closer to being acknowledged as science in that the way it is studied can be quantified and explained in a scientific model. Equally important is the second contribution for the reason that to some extent it marks a departure from the traditional "true or false" way of thinking and pulls people back into the right track in recognizing the inherent fuzziness in everything, including translation, so as to cease the unjustified pursuit of "precision" or "perfect match" or "100 percent faithful" in translation.Translation, like human language itself, is multi-faceted, dynamic and holistic, which renders it unscientific and unreasonable to lay down the specific or even absolute rules for translators to follow as the traditional translation studies used to do for so many years. All things said and considered, the core value of "fuzzy set theory" lies in that it leads us to the true nature of translation: translation is fuzzy, whether when the fuzzy content in human language is translated or when translators decide on the"proper" (notice, this word is fuzzy, too) method to do the translation or to study the translations. It holds true for literary translation, in particular. literary translation, which is more often than not confusedly equivalent to translation both at home and abroad, possesses its own distinctive characteristics. Based on the previous studies, the dissertation proposes a definition of literary translation with an aim to bring out its fuzzy implications. The definition goes like this: As one category of translation, literary translation shares all the features of translation, which in essence is to transplant the meaning or sense in one language in another, but literary translation differs from other types of translation in that the translated version must be as literary as the original and convey all the intentions of the author, including the emotions, the thoughts, the linguistic style and most important of all, the total effect, which determines the dual
quality of literary translation, that is, on the one hand, it must be creative because it possesses such features as artistry, creativity and vividness typical of literature and on the other hand it must be dependent on the original like any other type of translation. Looked at from the perspective of the translator, literary translation is an endless pursuit of resemblance on linguistic level and reconciliation on cultural level through the interpretation of each link in the chain that defines the whole process of translation, namely, "world-- author-- original work-- translator-- translated work-- reader" .
When it comes to the organization, the dissertation consists of seven chapters. Chapter I is Introduction, which provides some background information about the origin and the orientation of the dissertation with the focus on its methodology and significance. Chapter II is Literature Review, which presents a brief survey of the previous studies in the related fields: the fuzzy numerals in literature and their translation, the corpus-based translation studies, the translation of Xi You Ji into English and its related studies, and the fuzziness in literary translation. Then comes the core of the dissertation, which is divided into four parts. Chapter III elaborates on the fuzzy orientation in literature by analysing the fuzziness in the creating process, the language and the reception of literary works: the fuzziness in the creating process lies in the way the world is and the way the author conceives it, the fuzziness in the language is explained from the perspective of its origin and the ways it is manifested (sound, meaning, rhetorics and punctuation) and the fuzziness in reception is illustrated from the fuzzy nature of literature appreciation, of the theme, of the literary image and the differences between the readers. Chapter IV defines the numerals under discussion, compares numerals in English and Chinese, elaborates on the typical usage of numerals on both linguistic and cultural levels (linguistically, numerals are employed to count, to classify, to generalize and to form words; culturally, numerals are deeply rooted in religion, superstition and convention and thus become culture-laden and culture-specific ) before concentrating on the fuzzy quality of numerals in literary works, which is approached from the following aspects: the causes, the classification, the rhetorical effect (typically for hyperbole, metonymy, contrast, metaphor, euphemism and pun ) and the aesthetic value (the peculiar charm about the numbers employed in the literary works for their brevity in form, vividness in image creation and the humorous effect ). Chapter V proposes the fuzzy orientation in literary translation, which begins with a redefinition of literary translation based on the previous studies. And that is followed by the evidence-searching process that covers the three major fields of literary translation, namely, translation criteria, translation practice and translation theory. A whole section in this chapter is devoted to the discussion of the fuzziness, consciously or unconsciously, behind the translation criteria put forward in the major domestic and foreign translation theories, which is followed by a section on the fuzziness in translation practice in terms of the translation process, the methodology in translation and the orientation of the translator and another section on the fuzziness in the two essential elements of any translation theory, that is, translation standard and translation criticism. The conclusion in Chapter V, resulting from theoretical analysis, will be further evidenced in Chapter VI by the omnipresence of fuzzy numerals not only in the original but also in the English version of Xi You Ji, which is based on the qualitative and quantitative comparitive studies of the key numerals. Then in Chapter VII the Conclusion, all the major findings in the previous chapters are summed up and the pun in the title is explained: by " numerals" is meant that on the one hand the dissertation is written "from the perspective of fuzzy numerals" and on the other hand is meant that the methodology employed is corpus-based, which presents another dimension to the studies on the fuzziness in literary translation by providing "data" and "quantitative analysis" complementary to the traditional qualitative studies.
Based on the previous related studies and further evidenced by the author's research, the following conclusions have been reached in this dissertation. Firstly, literary works have an inherent fuzzy nature in that everything about literature is fuzzy, from its conception to its expression and finally to its reception by the readers. The conception is a process where the author's senses, feelings and associations are rationalized and finally materialized into concrete words, which also take on a fuzzy layer of meaning so as to match the fuzzy things they describe and the aesthetic effect that literary works aim to achieve. The reception is also a fuzzy process where the readers try to make the best use of their imagination to fill in the gaps deliberately left by the author and to determine the "indeterminacy" in the works, which is bound to be fuzzy because of the inevitable differences between the reader and the author as well as between the readers. It can be argued that it is nothing but the fuzziness that gives life to the everlasting literature in that the fuzziness or indeterminacy or the vagueness embedded in it gives birth to innumerable possibilities, which accounts for the fact that the classics can be interpreted in as many different ways by as many different readers and on as many different occasions. Dialectically speaking, being fuzzy is the only feasible way for literature to be precise and effective in conveying the meaning or achieving the aesthetic effect. Secondly, the numerals widely used in literary works, more often than not, take on the fuzzy look for the following reasons: the disparity between the limitedness in the words in human language and the limitlessness in the world around human beings, the fuzzy way of thinking innate and further acquired and sharpened in the human mind and the cultural associations endowed upon numerals and passed on from generation to generation. And thanks to the fuzzy aspect of the numerals, used alone or in combination with other words, literature is further enhanced in its expressing effectiveness: numerals play an irreplaceable role in helping achieve the rhetorical and aesthetic effects which are vital to any form of literature. Thirdly, literary translation is in essence fuzzy. Ironically, while scholars both at home and abroad are trying to come up with a universal and definite translation standard, they are tragically bogged down in fuzziness, unconsciously or later consciously. Traditionally and strongly influenced by the "two-value logic", both authors and translators are precision-prone because any vague idea would be considered as a slap in the face or at least a compromise, which is contrary to the fundamental law of fuzziness. Like it or not, the inconvenient truth is that translation, literary translation in particular, as a complicated, dynamic and holistic process, is doomed to be fuzzy. Any attempt to circumscribe literary translation by prescribing some exact and precise criteria is against both science and the nature of translation because precision is relative and conditional while fuzziness is absolute and universal. Seen from this perspective, the significance of introducing fuzzy theory into the practice and studies of literary translation is that it helps scholars depart from the traditional "neither A nor B" or " either A or B" pattern and take a fresh and fuzzy look at translation as it is and make the impossible possible by enriching translation with another dimension. After all, translation is all about reconciliation. As it is the soul of literature, so is creativity the soul of literary translation, which means that the translated version must live up to the requirements of any literary works and that there are no set rules to frame the creative process. The fuzzy nature of literature allows for different interpretations and this difference underpins the creativity from the translator's side. By
acknowledging the fuzziness in language and in translation, translators can bring into full play their potentials in creating the closest equivalent of the original and being comfortable with the fact that there is always room for improvements since everything about translation is fuzzy. To sum it up, the translated version is to the original what the mosaic to the archetype: if observed too closely they don't match, but they do resemble each other when observed from a certain distance. And that is the essence of fuzziness: the truth always lies in the middle of truth and falsehood or faithfulness and unfaithfulness. Fourthly, the major differences between numerals in English and Chinese are summarized and evidenced through the qualitative and quantitative case study of Xi You Ji. In terms of their usage, numerals in English and Chinese differ from each other in the following ways: the numerals in Chinese are more uniform in form and a single Chinese character for a numeral has a higher repetition frequency due to the fact that there are no inflections in Chinese, unlike those in English; when it comes to the numbers indicating a large amount, the Chinese is multiplied by "ten thousand" while English by "thousand"; the Chinese people have a preference over numbers and numerical expressions when compared with English-speaking people in that the overall appearance frequency of numbers in Chinese outdoes that in English; numerals are loaded with cultural associations and those associations vary between different cultures because of the differences in religion, superstition and convention and so on. In terms of the case of Xi You Ji, the abundant numerals and numerical expressions have their peculiarities in addition to the common features, and the most prominent ones are listed as follows: odd numbers are much more favored by the author and plays a more significant role in the novel, which is not in accordance with the Chinese tradition of preference over even numbers because of their associations of good luck and smoothness as well as symmetrical beauty; Xi You Ji is the best case in point that demonstrates the Chinese people's special liking for numbers because the novel hinges on some key numbers (such as one, three, five, seven and nine) in terms of plot construction, characterization and thematic manifestitation in addition to its common use in forming some idiomatic expressions and the proper names like the names of place, of people and of medicine; the key numerals embedded with the cultural associations and religious significance are not fully represented in the English version, which on the one hand indicates the differences in the fuzzy usage of numerals and on the
other hand the inherent fuzzy nature of literary translation.
The originality and significance of this dissertation, as the author sees it, lie in the following aspects. Firstly, the perspective chosen is original in that there are no previous studies on the translation of Xi You Ji from the angle of numerals, especially fuzzy numerals. Secondly, the methodology is original in that the corpus-based comparitive study presents a more objective and comprehensive view of the fuzziness involved in the key numerals in the original works as well as during the translation process. Thirdly, the theory behind the analysis is fuzzy set theory, which, according to the author's knowledge, has never been employed to conduct a systematic research on the typical usage of numerals in Xi You Ji and extended the case study to the whole domain of literary translation so as to serve as a solid evidence. Fourthly, deeply rooted in the previous related studies, this dissertation redefines literary translation and sorts through the major translation theories from the perspective of translation criteria.
Admittedly, there is still much left to be improved or to be followed up, due to the limitations both subjective and objective. For example, the numerals chosen are only limited to Xi You Ji instead of covering the other three of the Four Major Classics (Hong Lou Meng, San Guo Yan Yi, Shui Hu Zhuan and Xi You Ji) or even extending into all the Chinese classics, which would be a more comprehensive and more convincing evidence to illustrate the omnipresent fuzziness of numerals in literature and literary translation. For another example, it would be a much better platform for the quantitative study of Xi You Ji if such a corpus were established that would include all the English versions of Xi You Ji parallel to its original. Hopefully, the above-mentioned fields will be taken care of in the near future, by the author himself or through cooperation.
论文共分七章。第一章为绪论,阐述了论文的源起和论文的定位,主要包括研究方法和研究意义。第二章进行了文献综述,重点阐述了此篇论文之前人们在相关领域已经进行的研究,主要涉及到文学作品中的模糊数字及其翻译研究、语料库在翻译研究中的应用、《西游记》英译及其相关研究和文学翻译的模糊性研究。在此研究基础上,本论文从自选角度出发,在第三章里重点阐述了文学的模糊性,从文学的创作过程、文学语言本身和文学作品的接受过程三个层面进行了剖析,证实了文学自始至终就是一个模糊的过程。在第四章里,首先对数字进行了界定,然后对比了中英数字的异同,接着重点阐述了数字在语言和文化两个层面的典型应用,当然更为重要的是在本章里从模糊学的角度阐述了文学作品中模糊数字存在的根源、分类、修辞作用及其美学功能,说明模糊数字在构成文学的模糊美方面功不可没。接下来的第五章里论述的是文学翻译的模糊取向,这也是本论文要集中阐释的一个观点,首先结合前人研究的基础,对文学翻译的定义进行了重新厘定,然后在此基础上以翻译标准为视角,梳理了中外具有代表性的译论所提出的观点和主张,指出这些理论背后都存在有意无意的模糊性,然后结合翻译实践的特点,从翻译过程、翻译方法和译者定位三个方面进行佐证,最后结合翻译理论中的两个重要组成部分,即翻译标准和翻译批评,全方位地证明了文学翻译自身难免的模糊取向。这些理论分析得出的结论将会在接下来的第六章里得到佐证,因为在这一章里将借助《西游记》汉英双语平行语料库对比数字在原著和译著中的使用情况,在量化分析的基础上,结合传统的译例对比定性分析,证明数字在构造文学作品过程中存在的模糊性,以及翻译过程中对于这些模糊数字存在的模糊处理,从而直观地证明了文学翻译必然趋于模糊这一取向。而论文的最后一章作为结论,主要概括总结了前面几章的主要发现,并阐释了“数字视角”的双重含义:一是论文选取的研究切入点为文学作品中的“模糊数字”,二是借助语料库这种量化研究的平台,借助具体的“数据”来佐证定性研究得出的结论,旨在为文学翻译的模文学翻译模糊取向之数字视角——基于《西游记》的语料库研究糊研究提供另一个维度的参考。
从论文的立意和创新而言,本人认为有如下几点算得上是一种有益的尝试:第一,论文首先阐释了文学自身存在的模糊性,然后在前人研究的基础上重新厘定了文学翻译的定义,引入模糊理论的核心概念对中外具有代表性的译论主张进行梳理,在此理论基础上提出文学翻译必然趋向模糊这一命题;第二,论文选择数字作为研究的切入点,不仅整体全面地阐释了数字在文学作品中的模糊应用,还结合《西游记》中的重要数字及其翻译进行定性和定量的比较分析,从而更为客观全面地展示数字在《西游记》中的重要性及其在英译时所经过的模糊处理,并进而佐证文学翻译这一模糊取向;第三,论文的理论视角和研究方法存在创新,从本人掌握的数据资料来看,目前国内还没有人从模糊学的理论视角并借助汉英平行语料库对《西游记》中的数字进行系统的研究,并将其延伸到整个文学翻译领域,所以这也应当算是这篇论文的意义所在。当然,由于主客观因素的局限,这篇论文还存在很多值得进一步深入求证的话题,例如就研究对象而言,论文目前只是选择了《西游记》中的数字,如果可以扩大到其它三部名著,甚至整个典籍的翻译,也许整理出来的数据就更具有参照性和说服力;
另外,就数据库而言,如果能够建立《西游记》和几个不同英译版本的平行对照,那将为翻译的对比研究提供更为广阔的平台;再者,就研究深度而言,论文还可以在定性和定量方面进一步展开,比如专门选取所有的韵文及其中数字的应用实例进行比较研究。这些都将是本人今后研究和努力的一个主要方向。
Intended to evidence the fuzzy orientation in literary translation, this dissertation presents a corpus-based research on the important numerals in Xi You Ji or Journey to the West and their English translation in the hope that the comparative studies, both qualitative and quantitative, can shed some light on the inherent fuzziness of literature and the pragmatic fuzziness of numerals as well as the penetration of fuzzy theory into literary translation in terms of both practice and theoretical study.
Numerals have been a personal interest for many years not only because we now live in a "digital era" where the numeral or "digitalization" permeates our daily life but also because numerical expressions help men of letters discover another dimension in their literary creations, that is, they enable the readers to feel the "fuzziness" and "emotional touches" of the originally precise numbers. It is a long-cherished wish, which dates back at least to my MA studies in SISU, to elaborate on that personal interest, develop it into a longer paper and in the meantime to embark on a new journey of discovering the mysteries behind the culture-laden numerals.
Both as linguistic and cultural icons, numerals boast a long history behind themselves, whose presence can be felt in almost every major field of human culture, such as philosophy, religion, ethics, politics, economics, military affairs, literature, folklore and so on. Through a comparative study about the numerals and the numerical expressions in different cultures we can develop a better sense of the differences and similarities among people from another perspective. Take Chinese culture for example, the Chinese people seem to have a special liking for numbers in that there is a much higher frequency of numbers and numerical expressions in the literary works, such as Xi You Ji or Journey to the West. However, after a literature review, I come to the pitiful conclusion that the relevant studies deserve much more attention because the previous studies are limited not only in amount but also in the ways they are done, which is totally out of proportion to the significant role that numbers have played in the plot construction, characterization and thematic manifestation of Xi You Ji or Journey to the West.
Xi You Ji or Journey to the West is one of the most beloved classics of Chinese literature, a fantastic tale recounting the sixteen-year pilgrimage of the Tang Monk (596-664), one of China's most illustrious heroes, who journeyed to India with four animal disciples in quest of Buddhist scriptures. For nearly a thousand years, his exploits were celebrated and embellished in various accounts, culminating in the hundred-chapter Xi You Ji, which combines religious allegory with romance, fantasy, humor and satire. The first seven chapters relate the birth of the Monkey King and his rebellion against Heaven. Then in chapter eight to twelve is explained how Tang Monk was born and why he is searching for the scriptures as well as his preparation for the journey. The rest of th story describes how they vanquish demons and devils, overcome many dangers, eventually arrive at the destination and find the Sutra.
Among other things, Xi You Ji or Journey to the West is chosen as the subject for the case study due to the following three reasons: firstly, ever since my childhood Monkey King has always been an idol and a symbol of a "super hero with a strong sense of responsibility and justice", who is as popular as the book and the television series based on it; secondly, numerals are more frequently used in this book than in the other classics, namely, Hong Lou Meng or A Dream of Red Mansions, San Guo Yan Yi or The Romance of The Three Kingdoms and Shui Hu Zhuan or The Outlaws of the Marsh, and are usually loaded with Chinese flavors and to some extent reflect the essence of the three major religions in China, that is, Confucianism, Buddhism and Taosim; thirdly, the comparison between the original and the translated versions is feasible not only because many English versions of Xi You Ji are available but because two full versions are published now, one from W.J.F. Jenner a British scholar who has spent many years working in China, the other from Anthony C. Yu a Chinese who has been teaching for many years in Chicago University in the USA.
In terms of methodology, this dissertation is an attempt to be part of the unfolding descriptive translation studies with the aid of parallel corpus, which is so far the best instrument for quantitative analysis. Since the late half of the 20th century, scholars have diverted their focus from the traditional prescriptive studies of the principles or techniques of translation to an interdisciplinary approach, which develops into the current corpus-based translation studies, a combination of corpus linguistics and descriptive translation studies. Internationally, Mona Baker's Corpus Linguistics and Translation Studies: Implications and Application (1993) marks the beginning of the new field of study, which is in essence an empirical study about the translation process and its final product with both qualitative and quantitative analysis. Armed with this new instrument, scholars are supposed to broaden their horizons, attempt new approaches and conduct more empirical studies, but after a general review of the domestic academic publications in the related field, I come to the conclusion that we have not yet brought into full play the potentials of corpus as a tool in quantitative studies, especially in the field of translation studies. The conclusion is based on the theme and the number of the papers previously written, which is far from a good sign for the domain as a whole but for me an opportunity because this dissertation is intended to be a case study of Xi You Ji aided by parallel corpus with a view to evidencing the fuzzy orientation in literary translation, a typical case of empirical study. And thanks to the teachers from University of Shaoixing (in Zhejiang Province of China), a Chinese-English parallel corpus of Xi You Ji is available online, which is a perfect platform for the comparative study of the numerals in Chinese and their counterparts in English.
Theoretically, the "fuzzy set theory" advanced by L.A Zadeh(1965) is adopted in this dissertation to illustrate the point on the following two accounts: for one thing, "fuzzy set", originally a mathematical term, has now gone far beyond the domain of mathematics and has been widely applied in both sciences and humanities and labeled as a revolution in our way of thinking; for another, translation as the most complicated inter-linguistic and inter-cultural activity, is by nature fuzzy both in the way it is practiced and theoretically studied, indicating that the only feasible way to describe it is the fuzzy approach. As a matter of fact, along with people's ever deeper insight into the fuzzy quality of human language grows the interest in the inter-textual or inter-lingual or inter-cultural rendering of the fuzziness, which gives rise to, justifying in the meantime, the fuzzy approach in translation, especially in literary translation. Another important concept is "fuzzy logic" which is a form of many-valued logic derived from fuzzy set theory to deal with reasoning that is fluid or approximate rather than fixed and exact. In contrast with "crisp logic", where binary sets have two-valued logic, fuzzy logic variables may have a truth value that ranges in degree between 0 and 1. Put more simply, fuzzy logic is a superset of conventional logic that has been extended to handle the concept of partial truth, where the truth value may range between completely true and completely false. To sum it up, the two major contributions of "fuzzy set" or "fuzzy logic" to translation and translation studies are: firstly, the quantitative study of translation is made possible. For example, the most widely observed translation standard "faithfulness" can be quantified from "0.1" to "0.9"; secondly, the seemingly differences and conflicts between different schools of thought or different translators can be reconciled since "fuzzy logic" suggests that it is no longer a case of "either A or B" but a case of "neither A nor B" or "both A and B" in that in most cases the truth is only partial truth, or in other words, the truth always lies somewhere in the middle. Thanks to the first contribution, translation studies is getting even closer to being acknowledged as science in that the way it is studied can be quantified and explained in a scientific model. Equally important is the second contribution for the reason that to some extent it marks a departure from the traditional "true or false" way of thinking and pulls people back into the right track in recognizing the inherent fuzziness in everything, including translation, so as to cease the unjustified pursuit of "precision" or "perfect match" or "100 percent faithful" in translation.Translation, like human language itself, is multi-faceted, dynamic and holistic, which renders it unscientific and unreasonable to lay down the specific or even absolute rules for translators to follow as the traditional translation studies used to do for so many years. All things said and considered, the core value of "fuzzy set theory" lies in that it leads us to the true nature of translation: translation is fuzzy, whether when the fuzzy content in human language is translated or when translators decide on the"proper" (notice, this word is fuzzy, too) method to do the translation or to study the translations. It holds true for literary translation, in particular. literary translation, which is more often than not confusedly equivalent to translation both at home and abroad, possesses its own distinctive characteristics. Based on the previous studies, the dissertation proposes a definition of literary translation with an aim to bring out its fuzzy implications. The definition goes like this: As one category of translation, literary translation shares all the features of translation, which in essence is to transplant the meaning or sense in one language in another, but literary translation differs from other types of translation in that the translated version must be as literary as the original and convey all the intentions of the author, including the emotions, the thoughts, the linguistic style and most important of all, the total effect, which determines the dual
quality of literary translation, that is, on the one hand, it must be creative because it possesses such features as artistry, creativity and vividness typical of literature and on the other hand it must be dependent on the original like any other type of translation. Looked at from the perspective of the translator, literary translation is an endless pursuit of resemblance on linguistic level and reconciliation on cultural level through the interpretation of each link in the chain that defines the whole process of translation, namely, "world-- author-- original work-- translator-- translated work-- reader" .
When it comes to the organization, the dissertation consists of seven chapters. Chapter I is Introduction, which provides some background information about the origin and the orientation of the dissertation with the focus on its methodology and significance. Chapter II is Literature Review, which presents a brief survey of the previous studies in the related fields: the fuzzy numerals in literature and their translation, the corpus-based translation studies, the translation of Xi You Ji into English and its related studies, and the fuzziness in literary translation. Then comes the core of the dissertation, which is divided into four parts. Chapter III elaborates on the fuzzy orientation in literature by analysing the fuzziness in the creating process, the language and the reception of literary works: the fuzziness in the creating process lies in the way the world is and the way the author conceives it, the fuzziness in the language is explained from the perspective of its origin and the ways it is manifested (sound, meaning, rhetorics and punctuation) and the fuzziness in reception is illustrated from the fuzzy nature of literature appreciation, of the theme, of the literary image and the differences between the readers. Chapter IV defines the numerals under discussion, compares numerals in English and Chinese, elaborates on the typical usage of numerals on both linguistic and cultural levels (linguistically, numerals are employed to count, to classify, to generalize and to form words; culturally, numerals are deeply rooted in religion, superstition and convention and thus become culture-laden and culture-specific ) before concentrating on the fuzzy quality of numerals in literary works, which is approached from the following aspects: the causes, the classification, the rhetorical effect (typically for hyperbole, metonymy, contrast, metaphor, euphemism and pun ) and the aesthetic value (the peculiar charm about the numbers employed in the literary works for their brevity in form, vividness in image creation and the humorous effect ). Chapter V proposes the fuzzy orientation in literary translation, which begins with a redefinition of literary translation based on the previous studies. And that is followed by the evidence-searching process that covers the three major fields of literary translation, namely, translation criteria, translation practice and translation theory. A whole section in this chapter is devoted to the discussion of the fuzziness, consciously or unconsciously, behind the translation criteria put forward in the major domestic and foreign translation theories, which is followed by a section on the fuzziness in translation practice in terms of the translation process, the methodology in translation and the orientation of the translator and another section on the fuzziness in the two essential elements of any translation theory, that is, translation standard and translation criticism. The conclusion in Chapter V, resulting from theoretical analysis, will be further evidenced in Chapter VI by the omnipresence of fuzzy numerals not only in the original but also in the English version of Xi You Ji, which is based on the qualitative and quantitative comparitive studies of the key numerals. Then in Chapter VII the Conclusion, all the major findings in the previous chapters are summed up and the pun in the title is explained: by " numerals" is meant that on the one hand the dissertation is written "from the perspective of fuzzy numerals" and on the other hand is meant that the methodology employed is corpus-based, which presents another dimension to the studies on the fuzziness in literary translation by providing "data" and "quantitative analysis" complementary to the traditional qualitative studies.
Based on the previous related studies and further evidenced by the author's research, the following conclusions have been reached in this dissertation. Firstly, literary works have an inherent fuzzy nature in that everything about literature is fuzzy, from its conception to its expression and finally to its reception by the readers. The conception is a process where the author's senses, feelings and associations are rationalized and finally materialized into concrete words, which also take on a fuzzy layer of meaning so as to match the fuzzy things they describe and the aesthetic effect that literary works aim to achieve. The reception is also a fuzzy process where the readers try to make the best use of their imagination to fill in the gaps deliberately left by the author and to determine the "indeterminacy" in the works, which is bound to be fuzzy because of the inevitable differences between the reader and the author as well as between the readers. It can be argued that it is nothing but the fuzziness that gives life to the everlasting literature in that the fuzziness or indeterminacy or the vagueness embedded in it gives birth to innumerable possibilities, which accounts for the fact that the classics can be interpreted in as many different ways by as many different readers and on as many different occasions. Dialectically speaking, being fuzzy is the only feasible way for literature to be precise and effective in conveying the meaning or achieving the aesthetic effect. Secondly, the numerals widely used in literary works, more often than not, take on the fuzzy look for the following reasons: the disparity between the limitedness in the words in human language and the limitlessness in the world around human beings, the fuzzy way of thinking innate and further acquired and sharpened in the human mind and the cultural associations endowed upon numerals and passed on from generation to generation. And thanks to the fuzzy aspect of the numerals, used alone or in combination with other words, literature is further enhanced in its expressing effectiveness: numerals play an irreplaceable role in helping achieve the rhetorical and aesthetic effects which are vital to any form of literature. Thirdly, literary translation is in essence fuzzy. Ironically, while scholars both at home and abroad are trying to come up with a universal and definite translation standard, they are tragically bogged down in fuzziness, unconsciously or later consciously. Traditionally and strongly influenced by the "two-value logic", both authors and translators are precision-prone because any vague idea would be considered as a slap in the face or at least a compromise, which is contrary to the fundamental law of fuzziness. Like it or not, the inconvenient truth is that translation, literary translation in particular, as a complicated, dynamic and holistic process, is doomed to be fuzzy. Any attempt to circumscribe literary translation by prescribing some exact and precise criteria is against both science and the nature of translation because precision is relative and conditional while fuzziness is absolute and universal. Seen from this perspective, the significance of introducing fuzzy theory into the practice and studies of literary translation is that it helps scholars depart from the traditional "neither A nor B" or " either A or B" pattern and take a fresh and fuzzy look at translation as it is and make the impossible possible by enriching translation with another dimension. After all, translation is all about reconciliation. As it is the soul of literature, so is creativity the soul of literary translation, which means that the translated version must live up to the requirements of any literary works and that there are no set rules to frame the creative process. The fuzzy nature of literature allows for different interpretations and this difference underpins the creativity from the translator's side. By
acknowledging the fuzziness in language and in translation, translators can bring into full play their potentials in creating the closest equivalent of the original and being comfortable with the fact that there is always room for improvements since everything about translation is fuzzy. To sum it up, the translated version is to the original what the mosaic to the archetype: if observed too closely they don't match, but they do resemble each other when observed from a certain distance. And that is the essence of fuzziness: the truth always lies in the middle of truth and falsehood or faithfulness and unfaithfulness. Fourthly, the major differences between numerals in English and Chinese are summarized and evidenced through the qualitative and quantitative case study of Xi You Ji. In terms of their usage, numerals in English and Chinese differ from each other in the following ways: the numerals in Chinese are more uniform in form and a single Chinese character for a numeral has a higher repetition frequency due to the fact that there are no inflections in Chinese, unlike those in English; when it comes to the numbers indicating a large amount, the Chinese is multiplied by "ten thousand" while English by "thousand"; the Chinese people have a preference over numbers and numerical expressions when compared with English-speaking people in that the overall appearance frequency of numbers in Chinese outdoes that in English; numerals are loaded with cultural associations and those associations vary between different cultures because of the differences in religion, superstition and convention and so on. In terms of the case of Xi You Ji, the abundant numerals and numerical expressions have their peculiarities in addition to the common features, and the most prominent ones are listed as follows: odd numbers are much more favored by the author and plays a more significant role in the novel, which is not in accordance with the Chinese tradition of preference over even numbers because of their associations of good luck and smoothness as well as symmetrical beauty; Xi You Ji is the best case in point that demonstrates the Chinese people's special liking for numbers because the novel hinges on some key numbers (such as one, three, five, seven and nine) in terms of plot construction, characterization and thematic manifestitation in addition to its common use in forming some idiomatic expressions and the proper names like the names of place, of people and of medicine; the key numerals embedded with the cultural associations and religious significance are not fully represented in the English version, which on the one hand indicates the differences in the fuzzy usage of numerals and on the
other hand the inherent fuzzy nature of literary translation.
The originality and significance of this dissertation, as the author sees it, lie in the following aspects. Firstly, the perspective chosen is original in that there are no previous studies on the translation of Xi You Ji from the angle of numerals, especially fuzzy numerals. Secondly, the methodology is original in that the corpus-based comparitive study presents a more objective and comprehensive view of the fuzziness involved in the key numerals in the original works as well as during the translation process. Thirdly, the theory behind the analysis is fuzzy set theory, which, according to the author's knowledge, has never been employed to conduct a systematic research on the typical usage of numerals in Xi You Ji and extended the case study to the whole domain of literary translation so as to serve as a solid evidence. Fourthly, deeply rooted in the previous related studies, this dissertation redefines literary translation and sorts through the major translation theories from the perspective of translation criteria.
Admittedly, there is still much left to be improved or to be followed up, due to the limitations both subjective and objective. For example, the numerals chosen are only limited to Xi You Ji instead of covering the other three of the Four Major Classics (Hong Lou Meng, San Guo Yan Yi, Shui Hu Zhuan and Xi You Ji) or even extending into all the Chinese classics, which would be a more comprehensive and more convincing evidence to illustrate the omnipresent fuzziness of numerals in literature and literary translation. For another example, it would be a much better platform for the quantitative study of Xi You Ji if such a corpus were established that would include all the English versions of Xi You Ji parallel to its original. Hopefully, the above-mentioned fields will be taken care of in the near future, by the author himself or through cooperation.
引文
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31参考吴家珍,再谈汉语模糊修辞,《修辞学习》,1999年第3期。
32王希杰,《修辞学通论》,南京大学出版社,1996年,第422-433页。
33李晓明,《模糊性——人类认识之谜》,北京:人民出版社,1985年。
34此处参阅毛荣贵,《翻译美学》,上海交通大学出版社,2006年,第333页。
35此处参阅毛荣贵,《翻译美学》,上海交通大学出版社,2006年,第335-338页。
36巴尔扎克,《幻灭》,北京:人民文学出版社,1995年
37钱钟书,《围城》,北京:人民文学出版社,1991年,第5页。
38此处主要参考封树礼,文学欣赏的模糊性,《辽宁工程技术大学学报(社会科学版)》, 2000年第9期。
39高晓声,《且说陈奂生》,《人民文学》1980年第6期。
40此处参阅程灿,《模糊性:对文学的深层技术性勘察》,《玉溪师专学报》(社科版)1995年第1期。
41此处参考姚善义,宋月妹,简论模糊性与文学创作,《锦州师范学院学报》1996年第2期。
42此处参考李社教,论文学欣赏活动的创造性,《湖北师范学院学报》(哲学社会科学版),2000年第4期。
43鲁迅,《绛洞花主小引》,《鲁迅全集》第7卷,第419页。
44《含泪的笑——影片<牧马人>拍摄随感》,《新观察》,1982年第6期。
45邵璐,《大音希声,大象无形》,《广东外语外贸大学学报》,2007年第1期,第12页。
46此处数据主要参考史灿方,《数字:语言的阐释》,《江苏广播电视大学学报》,1997年第3期。
47朱生豪译,《莎士比亚全集》,南京:译林出版社,1998年。
48“半吊子”相关资料转引自百度百科。
49蒋孔阳,《德国古典美学》,商务印书馆,1980年版,第186页。
50此处参阅吕永进,汉语隐语行话中的数字表示法,《烟台师范学院学报》(哲学社会科学版),2005年第22卷第3期。
51转引自高博,《英汉数字的语用对比之异同》,《天中学刊》2003年第3期。
52此处参阅吴慧颖,《中国数文化》,长沙:岳麓书社,1995年。
53朱生豪译,《莎士比亚全集》,南京:译林出版社,1998年。
54秦牧,《艺海拾贝》,上海文艺出版社,1999年第1版。
55鲁迅,《鲁迅全集》,北京:人民文学出版社,2005年。
56参考韩照菊,论数字的模糊修辞功能,《赤峰学院学报》2008年第29卷第6期。
57朱光潜,《诗论》,上海:上海古籍出版社,2005年。
58此处数据主要参考杜贵晨,中国古代文学的重数传统与数理美——兼及中国古代文学的数理批评,《中国社会科学》2002年第4期,第165页。
59许均,《文学翻译的理论与实践——翻译对话录》,南京:译林出版社,2001年,第258页。
61许均,《文学翻译的理论与实践——翻译对话录》,南京:译林出版社,2001年,第260页。
62此处参阅邵璐,翻译学视角下的语言模糊性研究,《中国外语》2007年第4卷第3期,第72-76页。
63此处主要参阅邵璐,论翻译的模糊法则,《外国语》2008年第31卷第3期,第85页。
64谭载喜,《西方翻译简史》,北京:商务印书馆,1991年,第22页。
65郑海凌,文学翻译的本质特征,《中国翻译》1998年第6期,第5页。
66引自茅盾于1954年8月在全国文学翻译工作会议上的讲话,讲话的全文载于《译文》1954年10月号。
67张今,《文学翻译原理》,开封:河南大学出版社,1987年,第14页。
68夏仲翼,文学批评与翻译研究,《中国翻译》1998年第1期,第14页。
69程爱华,关于文学翻译本质内涵的思考,《山东师范大学学报》(人文社会科学版),2005年第1期,第37页。
70罗选民,屠国元,《阐释与结构:翻译研究论文集》,合肥:安徽文艺出版社,2003年,第98页。
71顾延龄,试论文学翻译的基本特性,《天津外国语学院学报》,2004年第11卷第4期,第8页。
72郑海凌,《文学翻译的本质特征》,《中国翻译》1998年第6期。
73余东,《虽不能至,心向往之——关于翻译标准的思考》,《中国翻译》2005年第26卷第6期,第15页。
74张玫,刘洪泉,翻译标准研究综述,《长江大学学报》(社会科学版)2006年第29卷第4期。
75 Huanglong. Translatology.南京:江苏教育出版社,1988年。
76《译林》1999年第4期,第204页。
77 Liu Zhongde. Ten Lectures on Literary Translation.北京:中国对外翻译出版公司,1998年。
78《译林》1998年第5期,第202页。
79许钧,《文学翻译的理论与实践:翻译对话录》,南京:译林出版社,2001年,第15页。
80“神似”一节主要参考王乃霞,模糊学与文学翻译的神似,《山西大学学报》(哲学社会科学版)1994年第3期。
81冯庆华,《实用翻译教程》,上海:上海外语教育出版社,1997年,第3-4页。
82辜正坤,《中西诗比较鉴赏与翻译理论》,北京:清华大学出版社,,2003年,第381页。
83此处参阅欧阳利锋,尚敏锐,以西方观点解读二十世纪中国翻译理论,《语言与翻译》(汉文)2002年第1期。
84此处参阅蒋金运,翻译标准研究的新发展——翻译标准新论述评,《广州大学学报》(社会科学版)2003年第2卷第2期。
85许渊冲,《文学与翻译》,北京:北京大学出版社,2003年,第241-242页。
86辜正坤,翻译标准多元互补论,《中国翻译》1989年第1期。
87张玫,刘洪泉,翻译标准研究综述,《长江大学学报》(社会科学版)2006年第29卷第4期。
88辜正坤,当代翻译学建构理论略论——《文学翻译学》序,《中国翻译》2001年第22卷第l期,第12页。
89郑海凌,翻译标准新说:和谐说,《中国翻译》1999年第4期。
90转引自王秉钦,《20世纪中国翻译思想史》,天津:南开大学出版社,2004年。
91陈宏薇,《新实用汉译英教程》,武汉:湖北教育出版社,1996年。
92此处参阅张玫,刘洪泉,翻译标准研究综述,《长江大学学报》(社会科学版)2006年第29卷第4期。
93曹敏祥,谈等值翻译,《中国翻译》1998年第2期。
94吕俊,《翻译:从文本出发——对等效翻译论的反思》,《外国语》1998年第2期。
95主要参考张俊杰,中西翻译标准:从传统到现代的演变,《河南理工大学学报》(社会科学版)2008年第9卷第4期。
96参见余东,《虽不能至,心向往之——关于翻译标准的思考》,《中国翻译》2005年第26卷第6期,第15页。
97张培基等,上海:上海外语教育出版社,1980年。
98朱光潜,谈翻译,《翻译研究文集》,北京:外语教学与研究出版社,1984年。
99余东,《虽不能至,心向往之——关于翻译标准的思考》,《中国翻译》2005年11月第26卷第6期,第18页。
100此处主要参阅李金树,多元、动态、模糊——解构主义翻译观与翻译标准的厘定,《宜春学院学报》(社会科学)2005年第1期。
101贺显斌,翻译标准的悖论,《四川外语学院学报》,2002年第18卷第6期。
102参阅陈忠华,论翻译标准的模糊测度,《中国翻译》1990年第1期。
103余东,《虽不能至,心向往之——关于翻译标准的思考》,《中国翻译》2005年第26卷第6期,第18页。
104“审美上的模糊性”一节主要参考郑海凌,文学翻译的本质特征,《中国翻译》1998年第6期,第6页。
105鲁迅,《鲁迅全集》第六卷,人民文学出版社,2005年,第365页。
106刘宓庆,《翻译美学导论》,台北:树林出版社,1995年,第65页。
107《译林》1999年第4期,第205页。
108《译林》1999年第5期,第213页。
109冯庆华,《文体翻译论》,上海:上海外语教育出版社,2005年,第221页。
110《译林》1998年第6期,第207-210页。
111《译林》1998年第1期,第204页。
112《译林》1998年第2期,第203页。
113《译林》2000年第3期,第214页。
114朱生豪译,《莎士比亚全集》,南京:译林出版社,1998年。
115此处译例出自曾宇钧,唐心洁,文学作品及其译文中的模糊现象初探,《喀什师范学院学报》,2002年第23卷第5期,第69页。
116柯平,释义、归化和回译,《中国翻译》1993年第1期,第26页。
117《译林》2000年第3期,第215页。
118高玉,论“忠实”作为文学翻译范畴的伦理性,《外国文学》2004年第2期,第93页。
119刘禾,《语际书写——现代思想史写作批判纲要》,上海三联书店,1999年,第33-36页。
120主要参考彭丽,翻译中“信”“达”观的模糊性,《重庆广播电视大学学报》1997年第1期,第43—45页。
121叶君健,翻译也要出“精品”,《中国翻译》1997年第1期。
122谭载喜,《试论翻译学》,《外国语》1988年第3期,27页。
123余东,《虽不能至,心向往之——关于翻译标准的思考》,《中国翻译》2005年第26卷第6期,第18页。
124许钧,《文学翻译的理论与实践:翻译对话录》,南京:译林出版社,2001年。
125王秉钦,《翻译:模糊艺术》,《上海翻译》2009年第4期,第20页。
126参见《中国翻译》1987年第4期。
127杨自俭,刘学云,《翻译新论》,武汉:湖北教育出版社,1994年,第461页。
128《外国语》1991年第2期。
129《中国科技翻译》1992年第4期。
130《西华大学学报》(哲学社会科学版)2005年第1期,第77-79页。
131此处主要参考赵彦春,语言模糊性与翻译的模糊对等,《天津外国语学院学报》,2001年第4期。
132此处主要参阅黄天源,模糊学与翻译,《法国研究》,1991年第1期,第12页。
133亚里士多德,《形而上学》,吴寿彭译,商务印书馆,1959年,第12页。
134杜贵晨,《西游记》数理机制论要——从神秘数字出发的文学批评,《山东师范大学学报》(人文社会科学版)2005年第50卷第1期,第3页。
135此处主要参考杜贵晨,中国古代文学的重数传统与数理美——兼及中国古代文学的数理批评,《中国社会科学》2002年第4期,第168页。
136此处主要参考杜贵晨,《西游记》“归一”论,《昆明学院学报》2000年第32卷第1期,第58-61页。
137杜贵晨,《西游记》数理机制论要——从神秘数字出发的文学批评,《山东师范大学学报》(人文社会科学版)2005年第50卷第1期,第7-8页。
138杜贵晨,《西游记》数理机制论要——从神秘数字出发的文学批评,《山东师范大学学报》(人文社会科学版)2005年第50卷第1期,第7-8页。
139杜贵晨,《西游记》的“七复”模式,《河南教育学院学报》(哲学社会科学版)2005年第5期第24卷,第22页。
140朱一玄,刘毓忱,《西游记资料汇编》,郑州:中州古籍出版社,1983年,第224页。
141杜贵晨,《西游记》中的“七七”与“九九”,《南都学坛》(人文社会科学学报))2005年第25卷第5期,第63页。
142杜贵晨,《西游记》“归一”论,《昆明学院学报》2010年第32卷第1期,第58~61页。
143杜贵晨,《西游记》数理机制论要——从神秘数字出发的文学批评,《山东师范大学学报》(人文社会科学版)2005年第50卷第1期,第5页。
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43.刘志华,2001,论文学创作中的模糊美,《湖北民族学院学报》(哲学社会科学版)第2期。
44.卢仲逖,2005,《英语数字千变万化》,武汉:湖北教育出版社。
45.吕永进,2005,汉语隐语行话中的数字表示法,《烟台师范学院学报》(哲学社会科学版)第22卷第3期。
46.姜焱,2000,汉语成语中数词的语义分析及翻译,《松辽学刊》(哲学社会科学版)第6期。
47.李琳,2001,数字的修辞功能及翻译,《安徽大学学报》(哲学社会科学版)第25卷第3期。
48.鲁迅,2005,《鲁迅全集》,北京:人民文学出版社。
49.苗东升,1987,《模糊学导引》,北京:中国人民大学出版社。
50.毛荣贵,2006,《翻译与美学》,上海:上海交通大学出版社。
51.明安云,2002,英汉数字的文化差异,《湖北大学学报》(哲学社会科学版)第5期。
52.穆雷,1991,用模糊数学评价译文的进一步探讨,《外国语》第2期。
53.桑东辉,2006,数字“七”的文化意蕴与《西游记》的“七子”模式——兼与杜贵晨先生商榷,《平原大学学报》第23卷第4期,64-67页。
54.邵璐,2007,翻译学视角下的语言模糊性研究,《中国外语》第4卷第3期,72-76页。
55.邵璐,2008,论翻译的模糊法则,《外国语》第31卷第3期。
56.邵璐,2007,大音希声,大象无形,《广东外语外贸大学学报》第1期。
57.史灿方,1997,数字:语言的阐释,《江苏广播电视大学学报》第1期。
58.孙静,秦莉,2005,试析英汉数字语义模糊性的美学特质——格式塔美学视角,《天津外国语学院学报》第12卷第6期,27-34页。
59.滕梅,2003,英汉数词的翻译方法,《解放军外国语学院学报》第26卷第2期。
60.田小勇,2005,汉语习语中数字模糊性的翻译,上海外国语大学优秀硕士论文。
61.仝丹,2008,《西游记》中文化内涵数字表达的汉英翻译研究,大连海事大学优秀硕士论文。
62.万来声,2002,模糊理论在翻译中的运用,《贵州教育学院学报》(社会科学版)第3期。
63.王德春,1997,语言学概论,上海:上海外语教育出版社。
64.王乃霞,1994,模糊学与文学翻译的神似,《山西大学学报》(哲学社会科学版)第3期。
65.王圣乙,1997,四众五行合三藏——谈五行学说在《西游记》中的体现,《辽宁教育学院学报》第14卷第4期,88-89页。
66.王秉钦,2004,20世纪中国翻译思想史,天津:南开大学出版社。
67.王秉钦,1998,语言与翻译新论,天津:南开大学出版社。
68.王秉钦,2009,翻译:模糊艺术,《上海翻译》第4期,19-21页。
69.汪溶培王宏,2009,中国典籍英译,上海:上海外语教育出版社。
70.温洪瑞,2003,英汉数字符号系统及其文化涵义对比研究,《山东大学学报》(哲学社会科学版)第3期。
71.文旭,1996,语义模糊与翻译,《中国翻译》第2期。
72.吴承恩,1980年第2版,西游记,北京:人民文学出版社。
73.武敬丽,2010,数字入句论,东北师范大学优秀硕士论文。
74.伍铁平,1979,模糊语言初探,《外国语》第4期。
75.伍铁平,1999,模糊语言学,上海:上海外语教育出版社。
76.吴显友,2000,汉英对比分析:数词之语言与文化蕴义,《山东外语教学》第2期。
77.吴义诚,1996,模糊:文学翻译研究的一种取向,《外国语》第5期。
78.夏仲翼,1998,文学批评与翻译研究,《中国翻译》第1期。
79.谢大任,1980,《汉英对等成语小词典》,上海:上海外语教育出版社。
80.许钧,2001,文学翻译的理论与实践:翻译对话录,南京:译林出版社。
81.许渊冲,2003,文学与翻译,北京:北京大学出版社。
82.徐袖珍,2007,英汉语中语音导致语义模糊现象的对比分析,《长春理工大学学报》第2期。
83.姚军,2001,英语语言中的模糊性及其语用功能,《南京航空航天大学学报》(社会科学版)第3卷第4期。
84.姚善义宋月妹,1996,简论模糊性与文学创作,《锦州师范学院学报》第2期。
85.余东,2005,虽不能至,心向往之——关于翻译标准的思考,《中国翻译》第26卷第6期。
86.余富斌,2000,模糊语言与翻译,《外语与外语教学》第10期。
87.杨莎莎,2008,亚瑟·韦利对《西游记》的创造性叛逆式翻译,首都师范大学优秀硕士论文。
88.杨自俭刘学云,1994,《翻译新论》,武汉:湖北教育出版社。
89.张安德李志强,2000,中英数字词语的文化比较,《山东师大外国语学院学报》第2期。
90.张瑞鸿周文革,2001,《红楼梦》中含双项数词的四字句英译特色,《湘潭师范学院学报》(社会科学版)第23卷第6期。
91.张霞,2001,英汉语互译中数字的对应问题及其翻译,《武汉科技大学学报》(社会科学版)第3卷第3期。
92.张玫刘洪泉,2006,翻译标准研究综述,《长江大学学报》(社会科学版)第29卷第4期。
93.张湘梅,2001,浅谈英汉语修辞中数字的应用,《福建政法管理干部学院学报》第3期。
94.张鑫友,1994,试论英语中的数词习语,《外国语》第2期。
95.赵伟礼,1995,跨文化交际中的英汉数词比较,《外语教学》(西安外国语学院学报)第3期。
96.赵彦春,2001,语言模糊性与翻译的模糊对等,《天津外国语学院学报》第4期。
97.郑海凌,2000,谈翻译批评的基本理论向题,《中国翻译》第2期,19-22页。
98.郑海凌,2006,现象翻译和实在翻译——兼论翻译研究的若干新方向,《中国翻译》第27卷第2期。
99.郑海凌,1998,文学翻译的本质特征,《中国翻译》第6期。
100.朱生豪译,1998,《莎士比亚全集》,南京:译林出版社。
3张成柱,《山东师范大学学报》,1988年第3-4期。
4杨惠中,《语料库语言学导论》,上海:上海外语教育出版社,2002年,第333页。
5丁信善,语料库语言学的发展及现状,《当代语言学》1998年第1期,第8页。
6同上,4～7页。
7冯跃进,陈伟,《外国语》,1999年第2期。
8刘敬国,陶友兰,语料库翻译研究的历史与进展—兼评《语料库翻译研究:理论、发现和应用》,《外国语》2006年第2期,第66-67页。
9转引,同上。
10同上,第66-67页。
11胡开宝,吴勇,陶庆,语料库与译学研究:趋势与问题—2007语料库与译学研究国际学术研讨会综述,《外国语》2007年第5期,第64页。
12朱自清著,孙明珍编,《朱自清散文精选》,北京:中国对外翻译出版公司,2009年。
13参见张洁,《库特·冯尼格说:NO!》,《读书》1983年第5期。
14曹禺,《雷雨》,北京:人民文学出版社,1994年,第4页。
15贾平凹,《爱和情》,《十月》1979年第3期。
16钱学森,《开展思维科学的研究》,见《新华文摘》1985年第9期。
17贾平凹,《腊月·正月》,北京:北京十月文艺出版社,1985年。
18郭沫若,《屈原蔡文姬》,北京:人民文学出版社,1997年。
19此处主要参阅刘志华,《论文学创作中的模糊美》,《湖北民族学院学报》(哲学社会科学版),2001年第2期。
20陈果安,《现代写作原理》,长沙:中南工业大学出版社,2000年,第141页。
21此处参考叶永烈,《文学新浪潮》,成都:四川教育出版社,1988年。
22徐遒翔、张晨辉主编,《文学词典》,学苑出版社,1999年。
23王克俭,《文学创作心理学》,北京:中央民族大学出版社,1997年,第295页。
24胡和平,论文学语言的模糊性,《暨南大学学报》,2002年第5期
25该处数据统计数据转引自徐袖珍,英汉语中语音导致语义模糊现象的对比分析,《长春理工大学学报》2007年第2期,第93页。
26参考徐袖珍,英汉语中语音导致语义模糊现象的对比分析,《长春理工大学学报》2007年第2期。
28朱光潜,《谈文学》,桂林:广西师范大学出版社,2004年。
29俞平伯,《读词偶得》,北京:人民文学出版社,2000年。
30转引自蒋有经,《模糊修辞浅说》,北京光明日报出版社,1991年。
31参考吴家珍,再谈汉语模糊修辞,《修辞学习》,1999年第3期。
32王希杰,《修辞学通论》,南京大学出版社,1996年,第422-433页。
33李晓明,《模糊性——人类认识之谜》,北京:人民出版社,1985年。
34此处参阅毛荣贵,《翻译美学》,上海交通大学出版社,2006年,第333页。
35此处参阅毛荣贵,《翻译美学》,上海交通大学出版社,2006年,第335-338页。
36巴尔扎克,《幻灭》,北京:人民文学出版社,1995年
37钱钟书,《围城》,北京:人民文学出版社,1991年,第5页。
38此处主要参考封树礼,文学欣赏的模糊性,《辽宁工程技术大学学报(社会科学版)》, 2000年第9期。
39高晓声,《且说陈奂生》,《人民文学》1980年第6期。
40此处参阅程灿,《模糊性:对文学的深层技术性勘察》,《玉溪师专学报》(社科版)1995年第1期。
41此处参考姚善义,宋月妹,简论模糊性与文学创作,《锦州师范学院学报》1996年第2期。
42此处参考李社教,论文学欣赏活动的创造性,《湖北师范学院学报》(哲学社会科学版),2000年第4期。
43鲁迅,《绛洞花主小引》,《鲁迅全集》第7卷,第419页。
44《含泪的笑——影片<牧马人>拍摄随感》,《新观察》,1982年第6期。
45邵璐,《大音希声,大象无形》,《广东外语外贸大学学报》,2007年第1期,第12页。
46此处数据主要参考史灿方,《数字:语言的阐释》,《江苏广播电视大学学报》,1997年第3期。
47朱生豪译,《莎士比亚全集》,南京:译林出版社,1998年。
48“半吊子”相关资料转引自百度百科。
49蒋孔阳,《德国古典美学》,商务印书馆,1980年版,第186页。
50此处参阅吕永进,汉语隐语行话中的数字表示法,《烟台师范学院学报》(哲学社会科学版),2005年第22卷第3期。
51转引自高博,《英汉数字的语用对比之异同》,《天中学刊》2003年第3期。
52此处参阅吴慧颖,《中国数文化》,长沙:岳麓书社,1995年。
53朱生豪译,《莎士比亚全集》,南京:译林出版社,1998年。
54秦牧,《艺海拾贝》,上海文艺出版社,1999年第1版。
55鲁迅,《鲁迅全集》,北京:人民文学出版社,2005年。
56参考韩照菊,论数字的模糊修辞功能,《赤峰学院学报》2008年第29卷第6期。
57朱光潜,《诗论》,上海:上海古籍出版社,2005年。
58此处数据主要参考杜贵晨,中国古代文学的重数传统与数理美——兼及中国古代文学的数理批评,《中国社会科学》2002年第4期,第165页。
59许均,《文学翻译的理论与实践——翻译对话录》,南京:译林出版社,2001年,第258页。
61许均,《文学翻译的理论与实践——翻译对话录》,南京:译林出版社,2001年,第260页。
62此处参阅邵璐,翻译学视角下的语言模糊性研究,《中国外语》2007年第4卷第3期,第72-76页。
63此处主要参阅邵璐,论翻译的模糊法则,《外国语》2008年第31卷第3期,第85页。
64谭载喜,《西方翻译简史》,北京:商务印书馆,1991年,第22页。
65郑海凌,文学翻译的本质特征,《中国翻译》1998年第6期,第5页。
66引自茅盾于1954年8月在全国文学翻译工作会议上的讲话,讲话的全文载于《译文》1954年10月号。
67张今,《文学翻译原理》,开封:河南大学出版社,1987年,第14页。
68夏仲翼,文学批评与翻译研究,《中国翻译》1998年第1期,第14页。
69程爱华,关于文学翻译本质内涵的思考,《山东师范大学学报》(人文社会科学版),2005年第1期,第37页。
70罗选民,屠国元,《阐释与结构:翻译研究论文集》,合肥:安徽文艺出版社,2003年,第98页。
71顾延龄,试论文学翻译的基本特性,《天津外国语学院学报》,2004年第11卷第4期,第8页。
72郑海凌,《文学翻译的本质特征》,《中国翻译》1998年第6期。
73余东,《虽不能至,心向往之——关于翻译标准的思考》,《中国翻译》2005年第26卷第6期,第15页。
74张玫,刘洪泉,翻译标准研究综述,《长江大学学报》(社会科学版)2006年第29卷第4期。
75 Huanglong. Translatology.南京:江苏教育出版社,1988年。
76《译林》1999年第4期,第204页。
77 Liu Zhongde. Ten Lectures on Literary Translation.北京:中国对外翻译出版公司,1998年。
78《译林》1998年第5期,第202页。
79许钧,《文学翻译的理论与实践:翻译对话录》,南京:译林出版社,2001年,第15页。
80“神似”一节主要参考王乃霞,模糊学与文学翻译的神似,《山西大学学报》(哲学社会科学版)1994年第3期。
81冯庆华,《实用翻译教程》,上海:上海外语教育出版社,1997年,第3-4页。
82辜正坤,《中西诗比较鉴赏与翻译理论》,北京:清华大学出版社,,2003年,第381页。
83此处参阅欧阳利锋,尚敏锐,以西方观点解读二十世纪中国翻译理论,《语言与翻译》(汉文)2002年第1期。
84此处参阅蒋金运,翻译标准研究的新发展——翻译标准新论述评,《广州大学学报》(社会科学版)2003年第2卷第2期。
85许渊冲,《文学与翻译》,北京:北京大学出版社,2003年,第241-242页。
86辜正坤,翻译标准多元互补论,《中国翻译》1989年第1期。
87张玫,刘洪泉,翻译标准研究综述,《长江大学学报》(社会科学版)2006年第29卷第4期。
88辜正坤,当代翻译学建构理论略论——《文学翻译学》序,《中国翻译》2001年第22卷第l期,第12页。
89郑海凌,翻译标准新说:和谐说,《中国翻译》1999年第4期。
90转引自王秉钦,《20世纪中国翻译思想史》,天津:南开大学出版社,2004年。
91陈宏薇,《新实用汉译英教程》,武汉:湖北教育出版社,1996年。
92此处参阅张玫,刘洪泉,翻译标准研究综述,《长江大学学报》(社会科学版)2006年第29卷第4期。
93曹敏祥,谈等值翻译,《中国翻译》1998年第2期。
94吕俊,《翻译:从文本出发——对等效翻译论的反思》,《外国语》1998年第2期。
95主要参考张俊杰,中西翻译标准:从传统到现代的演变,《河南理工大学学报》(社会科学版)2008年第9卷第4期。
96参见余东,《虽不能至,心向往之——关于翻译标准的思考》,《中国翻译》2005年第26卷第6期,第15页。
97张培基等,上海:上海外语教育出版社,1980年。
98朱光潜,谈翻译,《翻译研究文集》,北京:外语教学与研究出版社,1984年。
99余东,《虽不能至,心向往之——关于翻译标准的思考》,《中国翻译》2005年11月第26卷第6期,第18页。
100此处主要参阅李金树,多元、动态、模糊——解构主义翻译观与翻译标准的厘定,《宜春学院学报》(社会科学)2005年第1期。
101贺显斌,翻译标准的悖论,《四川外语学院学报》,2002年第18卷第6期。
102参阅陈忠华,论翻译标准的模糊测度,《中国翻译》1990年第1期。
103余东,《虽不能至,心向往之——关于翻译标准的思考》,《中国翻译》2005年第26卷第6期,第18页。
104“审美上的模糊性”一节主要参考郑海凌,文学翻译的本质特征,《中国翻译》1998年第6期,第6页。
105鲁迅,《鲁迅全集》第六卷,人民文学出版社,2005年,第365页。
106刘宓庆,《翻译美学导论》,台北:树林出版社,1995年,第65页。
107《译林》1999年第4期,第205页。
108《译林》1999年第5期,第213页。
109冯庆华,《文体翻译论》,上海:上海外语教育出版社,2005年,第221页。
110《译林》1998年第6期,第207-210页。
111《译林》1998年第1期,第204页。
112《译林》1998年第2期,第203页。
113《译林》2000年第3期,第214页。
114朱生豪译,《莎士比亚全集》,南京:译林出版社,1998年。
115此处译例出自曾宇钧,唐心洁,文学作品及其译文中的模糊现象初探,《喀什师范学院学报》,2002年第23卷第5期,第69页。
116柯平,释义、归化和回译,《中国翻译》1993年第1期,第26页。
117《译林》2000年第3期,第215页。
118高玉,论“忠实”作为文学翻译范畴的伦理性,《外国文学》2004年第2期,第93页。
119刘禾,《语际书写——现代思想史写作批判纲要》,上海三联书店,1999年,第33-36页。
120主要参考彭丽,翻译中“信”“达”观的模糊性,《重庆广播电视大学学报》1997年第1期,第43—45页。
121叶君健,翻译也要出“精品”,《中国翻译》1997年第1期。
122谭载喜,《试论翻译学》,《外国语》1988年第3期,27页。
123余东,《虽不能至,心向往之——关于翻译标准的思考》,《中国翻译》2005年第26卷第6期,第18页。
124许钧,《文学翻译的理论与实践:翻译对话录》,南京:译林出版社,2001年。
125王秉钦,《翻译:模糊艺术》,《上海翻译》2009年第4期,第20页。
126参见《中国翻译》1987年第4期。
127杨自俭,刘学云,《翻译新论》,武汉:湖北教育出版社,1994年,第461页。
128《外国语》1991年第2期。
129《中国科技翻译》1992年第4期。
130《西华大学学报》(哲学社会科学版)2005年第1期,第77-79页。
131此处主要参考赵彦春,语言模糊性与翻译的模糊对等,《天津外国语学院学报》,2001年第4期。
132此处主要参阅黄天源,模糊学与翻译,《法国研究》,1991年第1期,第12页。
133亚里士多德,《形而上学》,吴寿彭译,商务印书馆,1959年,第12页。
134杜贵晨,《西游记》数理机制论要——从神秘数字出发的文学批评,《山东师范大学学报》(人文社会科学版)2005年第50卷第1期,第3页。
135此处主要参考杜贵晨,中国古代文学的重数传统与数理美——兼及中国古代文学的数理批评,《中国社会科学》2002年第4期,第168页。
136此处主要参考杜贵晨,《西游记》“归一”论,《昆明学院学报》2000年第32卷第1期,第58-61页。
137杜贵晨,《西游记》数理机制论要——从神秘数字出发的文学批评,《山东师范大学学报》(人文社会科学版)2005年第50卷第1期,第7-8页。
138杜贵晨,《西游记》数理机制论要——从神秘数字出发的文学批评,《山东师范大学学报》(人文社会科学版)2005年第50卷第1期,第7-8页。
139杜贵晨,《西游记》的“七复”模式,《河南教育学院学报》(哲学社会科学版)2005年第5期第24卷,第22页。
140朱一玄,刘毓忱,《西游记资料汇编》,郑州:中州古籍出版社,1983年,第224页。
141杜贵晨,《西游记》中的“七七”与“九九”,《南都学坛》(人文社会科学学报))2005年第25卷第5期,第63页。
142杜贵晨,《西游记》“归一”论,《昆明学院学报》2010年第32卷第1期,第58~61页。
143杜贵晨,《西游记》数理机制论要——从神秘数字出发的文学批评,《山东师范大学学报》(人文社会科学版)2005年第50卷第1期,第5页。
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