具體描述
本書以十九世紀晚期英國文學作品及其中譯本為研究對象，
辨析文本與文化的（不）可譯性。
所謂翻譯，就是把以一種文字寫成的文本以另一種文字解讀和詮釋，其定義往往離不開上述局限於語文層麵上的二元解讀。《文化翻譯：十九世紀末英國文學的中譯》一書的主旨，乃是從上述架構以外的文化角度，探討文化此一概念對翻譯和一個文本的「可譯性」所帶來的影響。透過集中研讀十九世紀末英國的文學作品和其中譯本，並依據不同主題和體裁將之歸類，本書指齣瞭文化與翻譯活動的因果關係，比一般想像來得緊密、細膩，並藉著以上的分析，進一步探討翻譯和文化之間的關係之餘，闡釋翻譯研究對文化研究所可以帶來的啓思。
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.
名傢推薦
“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
辨析文本與文化的（不）可譯性。
所謂翻譯，就是把以一種文字寫成的文本以另一種文字解讀和詮釋，其定義往往離不開上述局限於語文層麵上的二元解讀。《文化翻譯：十九世紀末英國文學的中譯》一書的主旨，乃是從上述架構以外的文化角度，探討文化此一概念對翻譯和一個文本的「可譯性」所帶來的影響。透過集中研讀十九世紀末英國的文學作品和其中譯本，並依據不同主題和體裁將之歸類，本書指齣瞭文化與翻譯活動的因果關係，比一般想像來得緊密、細膩，並藉著以上的分析，進一步探討翻譯和文化之間的關係之餘，闡釋翻譯研究對文化研究所可以帶來的啓思。
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.
名傢推薦
“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
著者信息
作者簡介
餘文章
現為香港大學中文學院助理教授兼文學院副院長，並為《文學論衡》和《東方文化》的編委會成員。曾任英國倫敦大學訪問學人、颱灣大學訪問學人和史丹佛大學訪問學人，研究重心為翻譯研究、文化身分、東西文化交流（以十九世紀為主）、古典小說以及中華飲食文化與文學。
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.
餘文章
現為香港大學中文學院助理教授兼文學院副院長，並為《文學論衡》和《東方文化》的編委會成員。曾任英國倫敦大學訪問學人、颱灣大學訪問學人和史丹佛大學訪問學人，研究重心為翻譯研究、文化身分、東西文化交流（以十九世紀為主）、古典小說以及中華飲食文化與文學。
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.
圖書目錄
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
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
圖書序言
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.
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.
圖書試讀
用戶評價
评分
坦白說，我拿到《Translating Culture：Late-Victorian Literature into Chinese》時，內心是帶著幾分好奇和一絲忐忑的。我對晚期維多利亞文學的瞭解，主要停留在一些經典譯本上，比如《簡·愛》、《呼嘯山莊》等等，這些作品無疑是巨大的成功，塑造瞭許多人心中的西方文學形象。但究竟是什麼樣的翻譯策略，能夠讓這些遙遠時代的文字，在中國讀者心中激起如此強烈的情感共鳴？書中是否會詳細討論例如“意譯”與“直譯”的度量衡，又或者是針對特定詞匯、典故、甚至是幽默感的處理技巧？我很想知道，當譯者麵對那些帶有濃厚英倫貴族氣息的錶達，或是那些反映當時社會階級分化尖銳的場景時，是如何選擇最貼切的中文詞匯來傳達其神韻，而非僅僅停留在字麵意思的層麵？這種“信達雅”的境界，在跨文化翻譯中，必然麵臨著巨大的挑戰，我也非常期待書中能提供一些具體案例的深度解析，讓我能一窺其中奧秘，理解翻譯工作背後所蘊含的智慧與艱辛，以及它如何潛移默化地影響著我們對西方文學的認知。
评分讀到《Translating Culture：Late-Victorian Literature into Chinese》這個書名，我腦海中立刻浮現齣許多疑問。晚期維多利亞文學，如同一幅色彩斑斕的畫捲，描繪著那個時代的社會變遷、人文風貌，以及深刻的思想變革。而當這幅畫捲被“翻譯”成中文時，它是否依然能保持原有的色澤與神韻？書名中的“Culture”一詞，讓我聯想到，譯者在處理那些帶有鮮明英國文化烙印的概念，例如“紳士風度”、“殖民心態”、“宗教虔誠”等等時，是如何在中文語境中尋找最恰當的錶達？我希望書中能夠深入探討，翻譯過程中，不僅僅是語言的轉換，更是文化的解讀與再創作。例如，當狄更斯描繪的倫敦街頭景象，或者勃朗特姐妹筆下那種充滿壓抑感的傢庭氛圍，如何通過中文文字，讓一個非英國背景的讀者，也能真切地感受到其溫度與濕度。這無疑是對譯者語言功底、文化理解力以及藝術想象力的極大考驗。
评分閱讀《Translating Culture：Late-Victorian Literature into Chinese》這本書，我內心最期待的是它能為我揭示齣，晚期維多利亞文學在被翻譯成中文的過程中，究竟發生瞭哪些“文化轉化”的奇妙變奏。我常常在想，當我們閱讀福斯特筆下那些關於帝國主義的思考，或是科南·道爾的偵探故事時，它們中所蘊含的社會背景、道德觀念，以及英國人特有的思維方式，在翻譯過程中會以何種方式被呈現給中國讀者？是否會有一部分內容因為文化差異而被淡化，又或者，是否有某些詞匯被賦予瞭新的文化內涵？我尤其好奇，那些在維多利亞時代具有特殊意義的社會習俗、服裝、甚至是飲食文化，是如何通過中文的文字變得生動起來，讓讀者能夠感同身受，而非僅僅是模糊的意象。這本書能否幫助我理解，優秀的文學翻譯，不僅是在文字上做到忠實，更是在文化層麵，能夠搭建一座理解的橋梁，讓不同文化背景的讀者，都能在閱讀中找到共通的情感觸點，産生共鳴。
评分這本《Translating Culture：Late-Victorian Literature into Chinese》的封麵設計就讓我眼前一亮，那種融閤瞭維多利亞時代古典韻味與東方水墨的細膩筆觸，仿佛預示著一場跨越時空的文化對話即將展開。我一直對十九世紀末期英國文學的深邃與復雜情懷抱有濃厚興趣，無論是那些描繪社會轉型時期工人階級睏境的作品，還是探討女性意識覺醒的先驅之聲，都讓我著迷。而當這些經典文本，承載著西方社會變遷的印記，漂洋過海，被注入瞭中文的血脈時，其間的化學反應該是何等奇妙？書中是否深入剖析瞭譯者在麵對語言差異、文化隔閡時的掙紮與創造？例如，狄更斯筆下倫敦的霧霾與貧睏，在中文語境下該如何精準傳遞其沉重與壓抑？而王爾德的機智諷刺，又如何在跨文化語境下保留其精妙與銳利？我期待這本書能帶我走進一個由文字構建的橋梁，去感受那些熟悉的西方故事，如何披上中文的新衣，以一種全新的方式，觸動中國讀者的心靈。或許，它能揭示齣翻譯不僅僅是文字的搬運，更是文化靈魂的重塑與再現。
评分我對《Translating Culture：Late-Victorian Literature into Chinese》這本書的關注，很大程度上源於我對翻譯理論本身就抱有的濃厚興趣，尤其是當它與具體文學作品相結閤時。我一直認為，文學翻譯是連接不同文化、不同思想的重要紐帶，而晚期維多利亞文學，作為西方文學史上一個極其重要的時期，其作品的傳播和接受，無疑承載瞭豐富的跨文化交流信息。我希望這本書能夠提供一些關於翻譯史料的梳理，比如，在不同曆史時期，晚期維多利亞文學的中文譯本在翻譯風格、詞匯選擇上，是否呈現齣明顯的時代性變化？又或者，是否有某些譯者，因為其獨特的學識背景和文化視野，對譯本的質量産生瞭深遠的影響？我特彆期待書中能夠探討一些更具爭議性的翻譯案例，比如，當作品中涉及一些當時被視為禁忌或敏感的議題時，譯者是如何權衡和處理的？這些都會讓我對文學翻譯這一復雜而精妙的藝術，有更深入的理解和認識。
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