Exotic Shift in Literary Translation: The Implications of Translators

Carlos Tee

doi:10.29786/STI.201210.0005

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P127 - 158

人文学 > 语言学

DOI： 10.29786/STI

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Exotic Shift in Literary Translation: The Implications of Translators' Freedom for Translation Strategy, Production and Function

文学翻译中的异国转换：译者自由度对翻译策略、输出与功能的影响

郑永康(Carlos Tee)

翻译学研究集刊； 15辑 (2012 / 10 / 01) ， P127 - 158

英文 DOI： 10.29786/STI.201210.0005

译者自由度；文学翻译；异化翻译；翻译品质；翻译规范；翻译策略；比较文学；玫瑰玫瑰我爱你；王祯和；葛浩文；现代主义文学； exotic shift ； literary translation ； contemporary Chinese fiction ； Taiwanese fiction ； equivalence ； foreignization ； translator's freedom ； Wang Chen-ho ； Howard Goldblatt

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摘要 │ 参考文献 (38) │ 被引用文献 (3) │ 国际计量

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This paper probes into the implications of translators' freedom by examining Howard Goldblatt's English translation of Wang Chen-ho's Modernist novel, Rose, Rose, I Love You. Analysis of Goldblatt's text, observation of his chosen approach in translation, a review of published media interviews, and correlation with critics' views on Goldblatt's renditions of Taiwanese and Chinese contemporary fiction, all reveal a translation strategy difficult to situate in the context of contemporary translation theories. In this paper, Goldblatt's chosen approach of making his translation sound overly exotic and foreign way beyond what the original text expresses or implies is termed exotic shift. In many of Goldblatt's translations of Chinese-language fiction, what strikes the observer is that some foreign items are exaggerated through addition in the translation, semantically, linguistically, tonally or by other means. The gain derived from such an operation eventually adds to the quaintness of the text. This phenomenon, analyzed from the perspective of Venuti's foreignization through intertextual comparison of Goldblatt's work with Wang's original, serves as basis in raising some questions on the implications of translators' freedom for translation quality, strategy, production and function, responsibility to the reader, the institution's role, translator's visibility, normativity, and significance to comparative literature. Goldblatt's exotic shift, and its implications for translation studies- both the theoretical and the applied- are examined from the Polysystemic point of view. Analysis of Goldblatt's target texts reveals a ”reader-oriented” approach, often chosen at the expense of the message in the source text, creating what he himself calls a ”tension between creativity and fidelity.” His declared purpose in doing so is to transform indifferent Chinese prose into more readable and marketable English versions. Yet an observable and necessary result of this approach is a conspicuous translator's presence and visibility. The ultimate question that arises then is: ”Are the translated works really adequate representations of Taiwanese or Chinese literature, or are readers in the West getting a distorted semblance of the real thing?” As the most prolific translator of Chinese-language fiction today, Howard Goldblatt, as well as his chosen method, has strong repercussions on how contemporary Chinese-language literature is perceived by Western readers today at a time of growing interest in things Chinese in anticipation of the imminent rise of the PRC as a world power.

参考文献 ( 38 ) 〈TOP〉

Goldblatt, Howard (2002, April 28), The writing life, Sunday. The Washington Post, pp. BW10.
Goldblatt, Howard (2007, October). Howard Goldblatt on translation. Things Chinese. Retrieved from http://thingschinese.wordpress.com/2007/10/03/howard-goldblatt-on-translation/
Yu, Kwang-chung (2004, February 9-10). 成语与格言 (Four character idioms and aphorisms). China Times, pp. E7, D6.
Updike, John (2005, May 9). Bitter bamboo—Two novels from China. The New Yorker. Retrieved from http://www.newyorker.com/archive/2005/05/09/050509crbo_books
Anonymous (1999, June 12). Words don't come easy. Interview with Howard Goldblatt. South China Morning Post, p. A9.

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