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图书标签:

• 翻译研究
• 文化研究
• 维多利亚文学
• 中国现代文学
• 中西文化交流
• 文学翻译
• 文化翻译
• 历史文学
• 19世纪文学
• 比较文学

　　本书以十九世纪晚期英国文学作品及其中译本为研究对象，
　　辨析文本与文化的（不）可译性。
 
　　所谓翻译，就是把以一种文字写成的文本以另一种文字解读和诠释，其定义往往离不开上述局限于语文层面上的二元解读。《文化翻译：十九世纪末英国文学的中译》一书的主旨，乃是从上述架构以外的文化角度，探讨文化此一概念对翻译和一个文本的「可译性」所带来的影响。透过集中研读十九世纪末英国的文学作品和其中译本，并依据不同主题和体裁将之归类，本书指出了文化与翻译活动的因果关系，比一般想像来得紧密、细腻，并借着以上的分析，进一步探讨翻译和文化之间的关系之余，阐释翻译研究对文化研究所可以带来的启思。
 
　　The idea of translation is traditionally understood as a binary phenomenon—a process which re-interprets and re-presents an original text in one language for a different audience in another language. The aim of Translating Culture: Late-Victorian Literature into Chinese is to look at how the notion of culture convolutes this predominantly language-based practice and considers its implication on a text’s “untranslatability.” By focusing on literature of the late-Victorian period, grouping them into different themes and genres, and considering the way these texts have been translated into Chinese, an argument will be made that the idea of culture and the practice of translation are much more closely correlated than has been commonly assumed. In doing so, this book contributes to recent scholarship on translatology and cultural studies by examining the exactitude to which the process of translation must account for the concept of culture, as well as with how the former could help enhance our understanding of the latter.

名家推荐

　　“Addressing the important issue of culture translation with ample examples culled from prominent Victorian writers and representative Chinese translations, this is a timely and significant contribution to the burgeoning field of translation studies. Sensitive, insightful, and lucidly written, the book is a joy to read.”――Ching-Hsi Perng, Professor Emeritus, National Taiwan University
 
　　“Moving beyond the conventional cataloging of source-target textual divergences, this study takes a refreshing look at how literature can cross cultural barriers as vast as those separating the late-Victorian period from contemporary China. Isaac Yue demonstrates with flair how translation is itself a form of reception, rather than ancillary to it.”――Leo Tak-hung Chan, Professor of Translation, Lingnan University
 
　　“Translating Culture is refreshingly original and rich exploration of the complexities of thinking about linguistic and cultural translation, from English to Chinese. Focusing on literature from the dynamic and swiftly changing late-Victorian period, the book focuses on eight case studies whose rich use of language and imagery provide unique challenges for thinking about a range of fascinating topics. How, for example, do concepts like the ‘new woman’ or ‘empire’ translate across cultures? Yue’s study will be essential reading for all those interested in the Victorian fin-de-siècle and global issues.”――Mark Turner, Professor of English, King’s College London

跨越时代的对话：晚期维多利亚文学的跨文化译介研究 图书简介 本书深入探讨了晚期维多利亚时期（约1870-1901年）英国文学在跨越文化和语言的鸿沟，特别是被译介至中国语境的过程中所经历的复杂演变、接受策略以及文化影响。本书聚焦于翻译行为本身如何成为一种文化中介，不仅是语言层面的转换，更是思想、审美观念和时代精神的重新编码与协商。 第一部分：晚期维多利亚文学的语境与特征 第一章：帝国黄昏下的文学景观 本章首先描绘了晚期维多利亚时期英国文学的社会历史背景。这是一个充满矛盾的时代：工业化的高峰、科学理性的挑战（如达尔文主义的冲击）、对传统道德和宗教信仰的深刻反思，以及大英帝国鼎盛期的焦虑与衰落的隐忧。我们将考察这一时期文学的核心主题，包括对性别角色的重新审视（如“新女性”的出现）、都市生活的异化、对科学与神秘主义的兴趣，以及对审美主义和颓废思潮的探索。重点分析狄更斯后期作品的社会批判性、乔治·艾略特的伦理深度、托马斯·哈代对命运与人性的悲剧性刻画，以及奥斯卡·王尔德和乔治·摩尔等作家对传统叙事范式的颠覆。这些作品的复杂性和多义性，为后来的跨文化传播设置了独特的挑战。 第二章：叙事范式与审美张力 本章细致剖析了晚期维多利亚小说的叙事技巧与美学特征。我们将探讨现实主义向现代主义过渡期的叙事张力，包括内部独白的发展、时间观念的模糊化，以及对客观世界描绘的侧重转向对主体经验的关注。重点关注叙事视角的转换、象征主义手法的运用，以及不同流派（如哥特复兴、社会小说、自然主义倾向）之间的相互渗透。理解这些独特的文学建构，是分析其在异质文化中如何被解读和重构的基础。 第二部分：中国译介的时代背景与翻译策略 第三章：清末民初的文化译介浪潮 本部分将历史背景聚焦于19世纪末至20世纪初的中国。这是一个剧烈的社会转型期，伴随着“救亡图存”的民族情绪和对西方现代性的强烈渴求。翻译不再仅仅是文化交流的附属品，而是“开眼看世界”和思想启蒙的核心工具。本章将考察戊戌变法、新文化运动等重大历史事件对文学翻译需求和选择的影响。维多利亚文学的引进，往往服务于特定时期的政治、教育或道德改造目标。 第四章：翻译中的“选择性失语”与意义重构 本书的核心论点之一在于“选择性失语”现象。面对晦涩的维多利亚式复杂句法、深厚的宗教或古典典故，以及具有争议性的主题（如性、阶级冲突），译者采取了何种策略？本章将对比分析不同译本中对关键概念的处理：例如，对“颓废”（Decadence）的翻译是直译、意译，还是直接规避？对维多利亚时期严格的社会规范的描绘，如何被简化或“净化”以适应中国读者的接受期待？我们考察了早期译者，如林语堂、周作人等人在处理这些经典文本时所展现出的理论自觉与实践上的妥协。翻译文本不再是对原作的忠实复制，而是中国现代文化建构的一个面向。 第三部分：特定作家及其作品的跨文化接受 第五章：哈代田园牧歌的本土化悖论 托马斯·哈代（Thomas Hardy）作品中浓厚的地域色彩、宿命论的哲学倾向以及对乡村生活衰落的描绘，在中国译介中遇到了独特的挑战。本章分析了哈代小说（如《德伯家的苔丝》）如何在异域文化中被接受。其悲剧性被解释为是对“个人与环境”的冲突，还是被过度地纳入中国传统“才子佳人”叙事或“命运不公”的框架内？我们探讨了译者如何处理哈代作品中对自然力量的拟人化描写以及其微妙的异教色彩。 第六章：王尔德的审美与政治的张力 奥斯卡·王尔德（Oscar Wilde）的唯美主义与反讽姿态，是晚期维多利亚文学中最具颠覆性的元素之一。本章考察了王尔德作品，特别是其戏剧和散文，在中国的早期译介情况。关注点在于：审美主义是否被完全“去政治化”或“去道德化”地接受？译者如何处理“为艺术而艺术”的口号与中国语境下“为人生”的翻译思潮之间的冲突？对双性恋主题和对社会习俗的嘲弄，在翻译过程中经历了怎样的文化过滤和意义重构？ 第七章：女性书写与性别观念的碰撞 晚期维多利亚时期，女性作家的声音日益突出，她们对婚姻制度、女性教育和职业抱负的探讨，与中国清末“闺秀文学”的兴起形成了有趣的平行线。本章对比分析了英国女作家作品（如伊丽莎白·盖斯凯尔后期作品或格林·戴尔的作品）的翻译，考察了中国译者如何利用这些文本来支持自身的女性解放论述，以及这种支持是否导致对原作中复杂性别角色的简化处理。 第四部分：翻译的遗产与持续影响 第八章：译介文本对中国现代文学的潜移默化 本书的收尾部分探讨了维多利亚文学译本对中国现当代文学创作的具体影响。这种影响不仅体现在对小说结构和叙事技巧的借鉴上，更体现在对现代知识分子世界观的塑造。我们分析了翻译如何间接影响了中国早期白话文运动的语言规范，以及维多利亚时代的道德困境和审美情趣如何内化为中国知识分子自我反思的参照系。 结论：翻译作为文化生产的场域 本书总结了晚期维多利亚文学在中国译介过程中的能动性与局限性。翻译行为并非简单的文化传递，而是一个动态的、充满张力的文化生产场域。通过对不同作家、不同译本的细致考察，本书揭示了文学经典如何在跨越鸿沟时，既折射出彼岸文化的特性，更深刻地反映了译入文化自身的时代需求与文化焦虑。本书旨在提供一个多维度的视角，审视跨文化文学研究中“意义的流动性”与“文化的固化倾向”之间的永恒博弈。

作者简介

余文章
 
　　现为香港大学中文学院助理教授兼文学院副院长，并为《文学论衡》和《东方文化》的编委会成员。曾任英国伦敦大学访问学人、台湾大学访问学人和史丹佛大学访问学人，研究重心为翻译研究、文化身分、东西文化交流（以十九世纪为主）、古典小说以及中华饮食文化与文学。
 
　　Isaac Yue is Assistant Professor of Chinese and Associate Dean of Arts at the University of Hong Kong, which he joined in 2007. He is an editorial member of The Journal of Chinese Literary Studies and Journal of Oriental Studies and in the past has held visiting positions at the University of London, National Taiwan University, and Stanford University. His research interests are translation studies, cultural identity, Sino-West relationship with a special focus on the nineteenth century, classical Chinese novels, and Chinese food literature and culture.

Acknowledgement
Introduction
 
1 Metaphors and the Discourse of the Late-Victorian Divided Self: the Cultural Implications of Strange Case of Dr Jekyll and Mr Hyde
 
2 The Case of Raffles and the Translational Depreciation of Detective Fiction
 
3 The New Woman Novels and their Translations (or Lack Thereof)
 
4 Style Matters! Re-evaluating the Chinese Translations of Joseph Conrad’s Heart of Darkness
 
5 Dandyism and Witticism: The Importance of Being Oscar Wilde in the Context of Translation
 
6 Anti-Imperialism in Translation and H. G. Wells’s The Island of Doctor Moreau
 
7 Kim: A Case Study in Translation Regarding the Hybridity of Rudyard Kipling’s Imperialism
 
8 On Translating William Butler Yeats and the Decadence of Symbolism
 
Afterword
Notes
Bibliography
Index

Introduction(excerpt)
 
　　This book contains eight essays; each focuses on a unique theme that intersects with one aspect of the manifestation of late-Victorian society. The purpose of this approach is to facilitate reading and to give a sense of the diverse cultural richness that constituted the milieu of this period. Chapter 1 deals with Robert Louis Stevenson’s Strange Case of Dr Jekyll and Mr Hyde (1886) in the context of the divided self—a fitting beginning which in many way summarizes the epic struggle of the age. By situating the Jekyll and Hyde relationship within the cultural questions of the time, and alongside other texts with a similar theme including Oscar Wilde’s The Picture of Dorian Gray (1891) and Bram Stoker’s Dracula (1897), I argue for the importance of this contemporary cultural sub-current which informs this work and evaluate a number of Chinese translations according to this yardstick.
 
　　Chapter 2 continues the investigation of the notion of the divided self in terms of its manifestation in Ernest William Hornung’s Raffles stories. Here, the divided self serves as a case study to illustrate the chapter’s larger focus: namely, the conception of “literature” and the impossibility of separating it from its cultural roots and the idea of translational depreciation. The intent here, as it is throughout the book, is not to pass judgment on a specific translation, but to explore the different receptions of a text in its source and target cultures and to analyze this in the context of translation. By drawing upon the idea of culture as a means to determine the extent to which a work can be canonized as “literature,” this chapter aims to explore both the cultural implications of late-Victorian detective fiction and, by extension, its literary qualities as conveyed to both its original audience and target readers. The impact of this process on the appreciation and translation of a particular text will also be considered.
 
　　Chapter 3 concerns the rise of the women’s emancipation movement in the 1880s and 90s and the complementary emergence of “New Woman” literature. My investigation here will be conducted from a comparative cultural perspective, which is intended to give readers a sense of the origin and manifestation of the New Woman Movement in the Victorian fin de siècle and China’s own take on gender politics and the female role in society since the late Qing Dynasty. Throughout this chapter, attempts will be made to situate this study in a larger (global) cultural context in order to explain the absence of Chinese translations of New Woman novels.
 
　　Chapter 4 focuses on the importance of semantics in translation. Using Joseph Conrad’s Heart of Darkness (1899) as a case study, I draw attention to the distinctive writing style of Conrad and explore the ways that his style enriches his text with a specific cultural quality. Utilizing a number of modern Chinese translations of this novel, this chapter sheds new light on the interrelationship between semantics and culture in translation and evaluates the varying degrees of success of incorporating linguistic and cultural features in three Chinese translations of Conrad’s famous novel.
 
　　Chapter 5 examines the cultural ideologies of Oscar Wilde and the tendency of Chinese translators’ to minimize its importance in their focus on the linguistic and stylistic elements of Wilde’s works. My intention is to re-situate Wilde among the most important cultural critics of the late-Victorian period and to reconsider his stature as a canonical figure in nineteenth-century literature. Particular attention will be paid to the connection between the dandiacal witticism found in Wilde’s plays, which most translators tend to notice, and his cultural politics, which by comparison have been largely overlooked. By looking at the dandy figure in literature and the way in which Wilde superimposes his rebellious attitude onto his plays, through which the cultural significance of his writing is articulated, I contend that the translator’s seemingly justifiable focus on linguistic features does not necessarily preclude attention to other important cultural elements. I will be basing my argument on the extent to which the two notions may be read as complementary to, and even symbiotic of, each other.
 
　　Chapters 6 and 7 are inherently related in the sense that they examine the writings of H. G. Wells and Rudyard Kipling from a postcolonial perspective and consider their two representative novels—The Island of Doctor Moreau (1896) and Kim (1901)—as polar opposites in terms of their respective anti-imperialistic and jingoistic connotations. Chapter 6 focuses on Wells and Doctor Moreau. Unlike previous studies which examine the gendered and legal discourse of this text, my study draws upon Wells’s history of anti-colonial writings to argue that Doctor Moreau is, in fact, a calculated response to the emergence of jingoism during the second half of the 1890s. The translatability of this discourse in Chinese will also be discussed.
 
　　Chapter 7 looks at an opposite case as represented by Rudyard Kipling’s jingoistic writings. In an attempt to navigate between the two most common, but polarized, conceptions of Kipling as a humane sympathizer of India and an arrogant imperialist, this chapter situates Kipling in the middle of the spectrum as a hybrid colonizer—one who was attuned to the sufferings of the colonized natives but at the same time unable to transcend the dominant politics of colonialism at the time. In the course of examining the representation of this discourse in Kim, my emphasis will be spotlighted on the subtler indications of this idea and their cultural importance, along with their impacts on the Chinese translations.
 
　　The final chapter of this book works with the early poems of William Butler Yeats composed during the 1890s. Although his rise to literary fame during this period coincides with the decadence, compared to the other figures examined in this book, Yeats is often curiously left out of academic discussions pertaining to the Victorian fin de siècle. While this may be understandably attributed to the longevity of his career as well as his later prominence as a Nobel laureate and an Irish senator, the 1890s remains an important point of influence on his development as a poet and an artist, who reciprocally contributed to the shaping of the decadence milieu, especially in terms of its aesthetic philosophies. In this chapter, I argue that the key to understanding Yeats’s role lies in the way he conceptualized the milieu of the time—as less cultural-centric and more an extension of Walter Pater’s aesthete movement. By focusing on some of Yeats’s early poems, my aim is twofold: to dispel the common misconception that Yeats’s involvement with the period was peripheral and to re-situate him as one of the more influential figures of the period, whose poems resonate deeply with the spirit of the time to which a translator must pay attention.
 
　　Modern translatology has come a long way since its post-structuralist roots, in particular in regard to the question of comparative cultural (in-)equivalences. As Hanada Al-Masri points out:
 
　　Cultural understanding during the process of translation is extremely essential especially in the translation of literary texts, which require an effort on the part of the translator to retain the cultural information (reflected mostly in the figurative language) of the source text in the target text. Such cultural translation is known to be one of the most challenging aspects of translation.
 
　　As our appreciation of literature becomes more and more culture-dependent, the idea of “culture” in translation is predictably going to become increasingly central to the continual development of translatology. By drawing upon the late-Victorian age and its unique milieu, this book hopes to pave new paths for the re-examination of the importance, and essentiality, of the idea of “culture” in literature, and in the process to highlight the impact of approaching a source text from this perspective, and, in turn, to identify the criteria by which a translation should be judged.

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读到《Translating Culture：Late-Victorian Literature into Chinese》这个书名，我脑海中立刻浮现出许多疑问。晚期维多利亚文学，如同一幅色彩斑斓的画卷，描绘着那个时代的社会变迁、人文风貌，以及深刻的思想变革。而当这幅画卷被“翻译”成中文时，它是否依然能保持原有的色泽与神韵？书名中的“Culture”一词，让我联想到，译者在处理那些带有鲜明英国文化烙印的概念，例如“绅士风度”、“殖民心态”、“宗教虔诚”等等时，是如何在中文语境中寻找最恰当的表达？我希望书中能够深入探讨，翻译过程中，不仅仅是语言的转换，更是文化的解读与再创作。例如，当狄更斯描绘的伦敦街头景象，或者勃朗特姐妹笔下那种充满压抑感的家庭氛围，如何通过中文文字，让一个非英国背景的读者，也能真切地感受到其温度与湿度。这无疑是对译者语言功底、文化理解力以及艺术想象力的极大考验。

评分☆☆☆☆☆

坦白说，我拿到《Translating Culture：Late-Victorian Literature into Chinese》时，内心是带着几分好奇和一丝忐忑的。我对晚期维多利亚文学的了解，主要停留在一些经典译本上，比如《简·爱》、《呼啸山庄》等等，这些作品无疑是巨大的成功，塑造了许多人心中的西方文学形象。但究竟是什么样的翻译策略，能够让这些遥远时代的文字，在中国读者心中激起如此强烈的情感共鸣？书中是否会详细讨论例如“意译”与“直译”的度量衡，又或者是针对特定词汇、典故、甚至是幽默感的处理技巧？我很想知道，当译者面对那些带有浓厚英伦贵族气息的表达，或是那些反映当时社会阶级分化尖锐的场景时，是如何选择最贴切的中文词汇来传达其神韵，而非仅仅停留在字面意思的层面？这种“信达雅”的境界，在跨文化翻译中，必然面临着巨大的挑战，我也非常期待书中能提供一些具体案例的深度解析，让我能一窥其中奥秘，理解翻译工作背后所蕴含的智慧与艰辛，以及它如何潜移默化地影响着我们对西方文学的认知。

评分☆☆☆☆☆

阅读《Translating Culture：Late-Victorian Literature into Chinese》这本书，我内心最期待的是它能为我揭示出，晚期维多利亚文学在被翻译成中文的过程中，究竟发生了哪些“文化转化”的奇妙变奏。我常常在想，当我们阅读福斯特笔下那些关于帝国主义的思考，或是科南·道尔的侦探故事时，它们中所蕴含的社会背景、道德观念，以及英国人特有的思维方式，在翻译过程中会以何种方式被呈现给中国读者？是否会有一部分内容因为文化差异而被淡化，又或者，是否有某些词汇被赋予了新的文化内涵？我尤其好奇，那些在维多利亚时代具有特殊意义的社会习俗、服装、甚至是饮食文化，是如何通过中文的文字变得生动起来，让读者能够感同身受，而非仅仅是模糊的意象。这本书能否帮助我理解，优秀的文学翻译，不仅是在文字上做到忠实，更是在文化层面，能够搭建一座理解的桥梁，让不同文化背景的读者，都能在阅读中找到共通的情感触点，产生共鸣。

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这本《Translating Culture：Late-Victorian Literature into Chinese》的封面设计就让我眼前一亮，那种融合了维多利亚时代古典韵味与东方水墨的细腻笔触，仿佛预示着一场跨越时空的文化对话即将展开。我一直对十九世纪末期英国文学的深邃与复杂情怀抱有浓厚兴趣，无论是那些描绘社会转型时期工人阶级困境的作品，还是探讨女性意识觉醒的先驱之声，都让我着迷。而当这些经典文本，承载着西方社会变迁的印记，漂洋过海，被注入了中文的血脉时，其间的化学反应该是何等奇妙？书中是否深入剖析了译者在面对语言差异、文化隔阂时的挣扎与创造？例如，狄更斯笔下伦敦的雾霾与贫困，在中文语境下该如何精准传递其沉重与压抑？而王尔德的机智讽刺，又如何在跨文化语境下保留其精妙与锐利？我期待这本书能带我走进一个由文字构建的桥梁，去感受那些熟悉的西方故事，如何披上中文的新衣，以一种全新的方式，触动中国读者的心灵。或许，它能揭示出翻译不仅仅是文字的搬运，更是文化灵魂的重塑与再现。

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我对《Translating Culture：Late-Victorian Literature into Chinese》这本书的关注，很大程度上源于我对翻译理论本身就抱有的浓厚兴趣，尤其是当它与具体文学作品相结合时。我一直认为，文学翻译是连接不同文化、不同思想的重要纽带，而晚期维多利亚文学，作为西方文学史上一个极其重要的时期，其作品的传播和接受，无疑承载了丰富的跨文化交流信息。我希望这本书能够提供一些关于翻译史料的梳理，比如，在不同历史时期，晚期维多利亚文学的中文译本在翻译风格、词汇选择上，是否呈现出明显的时代性变化？又或者，是否有某些译者，因为其独特的学识背景和文化视野，对译本的质量产生了深远的影响？我特别期待书中能够探讨一些更具争议性的翻译案例，比如，当作品中涉及一些当时被视为禁忌或敏感的议题时，译者是如何权衡和处理的？这些都会让我对文学翻译这一复杂而精妙的艺术，有更深入的理解和认识。