On Creative Treason in Literary Translation
Abstract
The term “creative treason” was first coined by Robert Escarpit, the French sociologist, who states that translation is always a kind of creative treason. The process of literary translating is complicated and it can be classified into two steps: comprehending and expressing. These two processes are creative, which determine the unavoidability of creative treason. This thesis will discuss unavoidability from two angles: semiology and cultural differences. Creative treason is classified into four categories by Professor Xie Tianzhen: individualized translation, mistranslation, omission, and translation editing. Individualized translation includes domestication and foreignization; mistranslation consists of unconscious mistranslation and conscious mistranslation; translation editing, to some extent, is a kind of omission. Faithfulness is the first principle that the translator has to consider; however, creative treason is a conscious conduct made by translator to achieve specific goals either for being faithful to the original or for satisfying the target reader. According to the examples, the author will illustrate these contradictions and conclude the methods to control the limit of creative treason.
Key Words: literary translation; creative treason; unavoidability; faithfulness
摘 要
“創造性叛逆”這1術語是由法國文學社會學家羅伯特•埃斯卡爾皮提出的。他認為：“翻譯總是1種創造性叛逆。” 文學翻譯的過程分為理解和表達兩個過程,這兩個過程都是創造性叛逆的。這決定了創造性叛逆的不可避免性。本文從符號學和文化差異這兩個角度闡述文學翻譯中創造性叛逆的.不可避免性。在此基礎上介紹創造性叛逆的種類：個性化翻譯，誤譯，節譯以及編譯。個性化翻譯又分為歸化和異化；誤譯分為有意識誤譯和無意識誤譯；編譯在某種程度上也是1種節譯。忠實是譯者在翻譯文學作品時第1個必須要考慮的原則，而創造性叛逆是譯者為了達到忠實於原文和滿足讀者的需求的目的而採取的有意識的翻譯手法。本文將根據所舉的例子來分析忠實和叛逆的矛盾，並進1步闡述譯者要如何把握創造性叛逆的限度。
關鍵詞：文學翻譯、創造性叛逆、不可避免性、忠實
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