论文部分内容阅读
阎连科《受活》的文学创作是作者利用色彩语言的文化着色过程,在日本的译介则是透过语言镜片折射异域文化的再阐释过程。《受活》中色彩词的形式偏离和语义偏离凸显了阎连科的个人诗学特征和中国的区域性、本土性文化。日译本中色彩词的保留、淡化、褪色等策略混合了译者的个人风格和日本主流意识形态,是对本土文化的解读与重构,既体现了起点志向的源语文化色彩,又符合目标志向的受众审美情趣。色彩词的文化着色与褪色是阎连科个人诗学和区域性、本土性文化走向日本,在日本多元文化系统中受容的过程,体现了日本多元文化系统对中国文学的尊重和接受。
Yan Lianke’s “living” literary creation is the process of cultural coloring by the author using the color language. In Japan, the translation and interpretation are the re-interpretation of the exotic culture through the language lens. The deviation from the semantic deviation of the color words in “Living” highlights Yan Lianke’s personal poetic characteristics and China’s regional and indigenous culture. The strategy of preserving, diluting and fading color words in Japanese translations is a combination of the translator’s personal style and the Japanese mainstream ideology, which is the interpretation and reconstruction of the local culture. It embodies both the source culture of the starting ambition and the target Aspiration of the audience aesthetic taste. Cultural coloring and fading of color words are the process of Yan Lianke’s personal poetics and regional and indigenous cultures moving toward Japan and being accepted in the multi-cultural system of Japan, reflecting the respect and acceptance of Japanese multicultural system for Chinese literature.