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捷裔法籍作家米兰·昆德拉(Milan Kundera1929-)出生于捷克斯洛伐克布尔诺,自1975年起,在法国定居。他的诸多作品如《生命中不能承受之轻》、《玩笑》曾先后出现多个译本,但都先后被昆德拉本人否决了[8]。本文拟从“译者隐形”“作者抵抗”两个方面分析阐述和分析米兰·昆德拉作品译本背后的深层文化冲突。通过研究,本文的结论是:在“译本完美主义”的驱使下,昆德拉追求译文与原文的完全一致性,否定翻译过程中“译者隐形”条件下的创造性权利并以“作者抵抗(源自韦努蒂的抵抗式翻译)”的方式追求绝对的忠实,这其实是一种文学翻译的乌托邦狂想。在“译者隐形”与“作者抵抗”的斗争中,昆德拉从对翻译质量的必要警惕开始,最后发展成对已经进入目的语文化传播和接受流程的文本之权力欲的无限膨胀,甚至对翻译主体之创造性的无条件褫夺,其实是一个来自弱势民族的流散作家在作品或译作中构建属于自我身份认同的渴望,是一种在民族文化身份摇摆状态中的跨文化飘泊焦虑。
Hispanic French writer Milan Kundera (1929-) was born in Brno, Czechoslovakia and settled in France since 1975. Many of his works such as “Unbearable Lightness in Life,” “Joking” have appeared in multiple versions, but they have been rejected by Kundera himself [8]. This article intends to analyze and analyze the deep cultural conflicts behind the translations of Milan Kundera from the perspectives of “translator invisibility” and “author resistance”. Through the research, the conclusion of this paper is: Driven by “translation perfectionism ”, Kundera pursues the complete consistency of the translation and the original, negates the creative rights under the condition of “translator invisibility” in translation “The author of the resistance (from Venuti ’s resistance to translation) ” way to pursue absolute loyalty, this is actually a utopian fantasy of literary translation. In the struggle between “translator invisibility” and “author resistance”, Kundera began with the necessary vigilance on the quality of translation and finally developed into a power desire to texts that have entered the process of communication and acceptance of the target language Infinite expansion, and even the creative unconditional takeover of the main body of translation are in fact the desire of a diasporic writer from a disadvantaged group to build up their own identity in works or translations. This is an intercultural drift and anxiety in the state of national cultural identity .