翻译美学视角下《背影》的两个译本研究

朱自清是中国五四时期最出色的散文家之一，其代表作《背影》更是在中国散文中享有盛誉，被称为“天地间第一等至情文学（安彤，2016：293）”。该作品行数不满五十行，字数不过一千四百字，但其简单朴素的语言却拥有感人至深的力量。而且《背影》中文白夹杂的语句是一种高度民族化的语言，本身就具有独特的审美价值。因此多次被译成英文，其中张培基和杨宪益的英译本接受度最高。
作为美学与翻译的联姻，翻译美学自产生以来就倍受译界学者的关注。翻译美学对文学翻译的研究尤为适合，因为文学本身就是美的享受、美的体验。在如何传达原作之美的问题上，翻译美学所关注的问题为我们提供了方法论意义上的参考答案。然而为何要从翻译美学的视角来介入散文翻译呢？汉语散文最最突出的特点，莫过于“形散神聚”了，这一特点决定了其英译必然要从“形”与“神”两个方面同时把握，而“形”和“神”分别与刘宓庆教授翻译美学理论中的形式系统和非形式系统相契合。所以本文以刘宓庆教授翻译美学理论为指导，从形式系统和非形式系统对比研究张培基和杨宪益的《背影》两英译本中的审美再现。希望能为《背影》翻译研究提供新视角，为中国现代散文的英译提供建议。
本文一共分为五部分。第一部分为引言。第二部分简述《背影》的语言特色，张培基先生和杨宪益先生的翻译理念及其在《背影》英译本中的体现。第三部分介绍何谓翻译美学，及翻译美学的主要理论——审美主体、审美客体、审美再现。第四部分从翻译美学的形式美和非形式美两大视角对比分析《背影》的两个英译本。第五部分为结论。

关键词：翻译美学；散文翻译；《背影》；张培基；杨宪益
On the Two English Versions of The Sight of My Father’s Back from Translation Aesthetics
 
Abstract: Zhu Ziqing’s The Sight of My Father’s Back, known as “One of the most touching works of literature in the world（安彤，2016：293）”, enjoys a high reputation in modern Chinese prose. Besides, he himself is one of the most outstanding prose writers during the May Fourth Period in China. Though the whole essay has less than 1400 words and no more than fifty lines as the language of The Sight of My Father’s Back is simple and plain, it has sincere emotion and touching power. With highly national characteristics, its sentence is the mixture of classical Chinese and modern Chinese, thus possessing unique aesthetic value. It has been translated into many English versions, among which Zhang Peiji’s and Yang Xianyi’s translations are widely received.
As the marriage of aesthetics and translation, translation aesthetics has attracted much attention of translation scholars since its emergence. Translation aesthetics is particularly appropriate for the study of literary translation, because literature itself is the enjoyment and experience of aesthetics. On how to convey the beauty of the original text, translation aesthetics has provided us with a reference in the sense of methodology. However, why can we study prose translation from the perspective of translation aesthetics? The most prominent characteristics of Chinese prose are free form and tight spirit, which require that the translation of Chinese prose should give consideration to both form and spirit. They respectively tally with the formal system and non-formal system of Liu Miqing’s theory on translation aesthetics. So based on his theory, this paper aims to carry out a comparative study on the aesthetic representation of Zhang Peiji’s and Yang Xianyi’s English versions of The Sight of My Father’s Back in formal system and non-formal system. The author hopes to provide a new perspective for the translation of this essay and offer references to the translation of modern Chinese prose.
The paper can be divided into five parts. The first part gives an overview of this paper. The second one presents the language characteristics of The Sight of My Father’s Back, Zhang Peiji’s and Yang Xianyi’s translation ideas and the representation of their ideas in their English versions. The third one is devoted to an overview of translation aesthetics, including its definition and its three major theories--aesthetic object, aesthetic subject and aesthetic representation. Part four is the main body of the paper, in which a comparative research on the two English versions of The Sight of My Father’s Back from the perspective of translation aesthetics will be studied both in formal and non-formal system. The last part is the conclusion.

Key words: Translation Aesthetics; Prose Translation; The Sight of My Father’s Back; Zhang Peiji; Yang Xianyi

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