Abstract

Translating animal agency poses evolving challenges and opportunities for more nuanced ethical attunements with animal subjects, especially in light of Anthropocene realities and the ongoing shift from anthropocentric to post-anthropocentric ways of understanding the world. Drawing on ecologically informed frameworks such as “eco-translation,” “ecolinguistics,” and “narrative ethology,” this study examines the portrayals of animal behaviors, social mores, and family values in Chinese translations of Ernest Thompson Seton’s collection of animal stories Wild Animals I Have Known (1898). Focusing on the interplay of anthropomorphic projections and animal agency in the original and its translations, this study argues for an eco-translational approach to similar works, particularly within the genre of realistic animal stories. This approach refrains from fabricating pseudopersonhood for animals as mere automatized human cultural constructs. Instead, it seeks to analytically unveil pre-existing animal agency encoded in the source text or extrapolate it from the genre’s ethos. The study concludes with the potential strategies that emphasize the importance of unveiling animal agency as an indispensable component of eco-translation.

Keywords

eco-translation, ecolinguistics, narrative ethology, animal agency, anthropomorphism

摘要

在「人類世」的語境下動物能動性的翻譯工作面臨新挑戰，特別是人類中心主義向後人類中心主義的認知轉型，提供了實現與動物主體更細膩倫理共感的機遇。本文以「生態翻譯」、「生態語言學」與「敘事動物行為學」等生態取向理論為框架，考察厄內斯特．湯普森．西頓的動物故事集《我所知道的野生動物》（1898）的中文譯本中動物行為、社會規範與家庭價值觀的呈現方式。文章重點分析原作及譯本中擬人化傾向與動物能動性的互動關係，主張在寫實動物故事等類似文本的翻譯中採用生態翻譯方法。該方法避免將動物簡單塑造成自動化的人類文化產物，而是通過解析和揭示原文本中所蘊含的動物能動性，或從該文類旨趣推演其能動性。最後，本文提出若干翻譯策略，將動物能動性定位為生態翻譯實踐之不可或缺要素。

關鍵詞

生態翻譯、生態語言學、敘事行為動物學、動物能動性、擬人

摘要

1960年代上半期的中國高校文科教材編譯工作，為著「調整」方針而發生和展開，對實現教育「調整」發揮了重要作用。在選題規劃上，它貫徹了「調整」中的教育正規化、獨立自主和聯繫實際的思路。在編譯實踐上，它發揮了「調整」中舉國體制的優勢，與原創教材編寫展開良性互動，形成了紮實的學風，培養了一批年輕人才，並團結了舊知識份子老教師。但由於「調整」的局限性，它同樣存在好大喜功、急功近利，以及思想不夠解放等問題。隨著「調整」階段的結束，教材編譯也逐步走向衰落，直到改革開放之後重新啟動。

關鍵詞

教育「調整」、文科教材、周揚

Abstract

During the brief period of “Adjustment” in the first half of the 1960s, China undertook the project of translating and compiling a series of liberal arts textbooks and reference books for higher education, achieving great success in this respect. In terms of general planning and book selection, the project followed the ideas of educational specialization, independent thinking, and ideological engagement. In the process of compiling and translating, the project took advantage of concerted efforts nationwide, enabled an interaction between translation and original research, helped create an atmosphere of scholarship, fostered young talents with international vision, and temporarily spared senior scholars from radical educational reform. However, due to the limitations of the “Adjustment” policy, it was still hampered by the “Great Leap Forward” mentality and politicized research method. Toward the end of this period, the compilation and translation work gradually declined, only to be restarted after 1978.

Keywords

educational “Adjustment,” liberal arts textbooks and reference books, Zhou Yang

Abstract

This paper presents a case study of the English translation of Li Juan’s 李娟 narrative nonfiction Dong Mu Chang 冬牧場. Through highlighting the translational and ethnographic characteristics of the original Chinese text, it posits that Li assumes the dual role of a translator and an ethnographer in her writing of Dong Mu Chang and that translating the book is essentially a meta-translational endeavor. Drawing upon the widely recognized narrative concept of the implied author, the paper makes a comparison between the English translation of Dong Mu Chang and its original Chinese version and has discovered that the English translation features an implied author with a more pronounced image of an ethnographer, a manifestation attributed to a succession of paratextual interventions that can be regarded as a strategic approach adopted by the translators to augment the ethnographic essence of the book. This study underscores the richness and complexity of Dong Mu Chang as a dynamic object of translation and reveals the potential challenges involved in translating narrative nonfiction with ethnographic characteristics, giving prominence to the narrative concept of the implied author. It establishes an epistemologically important case for narrative nonfiction translation research and hopefully offers implications for the practice of narrative nonfiction translation as well.

Keywords

Li Juan, Dong Mu Chang, narrative nonfiction translation,
ethnographer, cultural translator, the implied author

摘要

本文探討李娟的非虛構敘事作品《冬牧場》的英譯。通過分析原作本身的翻譯和民族誌特徵，指出李娟在《冬牧場》的書寫中承擔了翻譯者和民族誌學者的雙重角色，並認為《冬牧場》的英譯在本質上屬於一種元翻譯行為。基於敘事學經典概念「隱含作者」，本研究通過《冬牧場》中英文本對比發現，英譯本借由一系列副文本干預，呈現出一個更具民族誌學者特質的隱含作者形象，此舉實為譯者強化作品民族誌價值的策略性操作。本研究凸顯了《冬牧場》作為翻譯對象的豐富性與複雜性，揭示了具有民族誌特色的非虛構敘事作品在翻譯中可能面臨的挑戰，同時彰顯出隱含作者概念的重要性，為非虛構敘事翻譯研究提供了一個認識論上的重要案例，並希望為該領域的翻譯實踐提供啟示。

關鍵詞

李娟、《冬牧場》、非虛構敘事翻譯、民族誌學者、文化譯者、隱含作者

Abstract

Examining late nineteenth- and early twentieth-century English translation anthologies of classical Chinese poetry by two British sinologists, Herbert Allen Giles and W. J. B. Fletcher, this article explores the translation anthology as a crucial medium for the translator to theorize through practice and a cultural form that enables the translation scholar to anchor theorization in historically constituted practices. The anthologies selected for discussion are single-translator anthologies made by sinologists, where the translator of the poems doubles as the editor of the anthology. Special attention is paid to how the translator-anthologist creates various features within the anthology space through a range of techniques: the use of figurative language that presents the Chinese poems as “gems,” the selection and arrangement of anthology pieces, page layout, retitling, versification, and the interplay between translation and paratextual materials like annotations. This article aims to unpack the making of translation anthologies as complex microcosms of the translation field by reading these features and techniques as acts of discursive engagement, whereby the translator-anthologist mediates multiple forms of knowledge and value, formulates new methods and poetics of translation, and enters into intertextual dialogues with other approaches.

Keywords

translation anthology, classical Chinese poetry, British sinology, Victorian poetry, Herbert Allen Giles, W. J. B. Fletcher

摘要

本文考察翟理斯與弗萊徹在十九世紀末及二十世紀初編譯的中國詩歌譯選集，旨在探討翻譯選集中理論與實踐的互動。文章所討論的均為單一譯者選集，兩位漢學家既是編選者，也是英譯者。文章分析他們如何運用各種方法營造選集這一空間：如採用「珍寶」之喻，又如詩篇的選擇與編排、版面之設計、篇名之擬定、韻律之呈現，以及副文本與文本之互動。這些特徵與方法體現的是譯者在特定歷史語境中的話語實踐，他們在翻譯選集這一微觀世界裏，協調不同文化中的知識與價值，探索新的翻譯方法與詩學，並與其他譯者展開互文對話。

關鍵詞

翻譯選集、中國古典詩歌、英國漢學、維多利亞時期詩歌、翟理斯、弗萊徹