集智翻译-Chinese SF and the art of translation — a Q&A with Ken Liu

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August 20, 2016 | 2:07 pm | Posted by Colin Sullivan | Category: Science fiction

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中国科幻与翻译的艺术——刘宇昆访谈

The award-winning author and translator Ken Liu released his debut novel, The Grace of Kings, last year. He also translated two of the books in the Three-Body trilogy by Liu Cixin (the first of which, The Three-Body Problem, won the 2015 Hugo for best novel). Ken’s interest in contemporary Chinese science fiction is underscored by the forthcoming Invisible Planets, an anthology of Chinese SF in translation that will come out later this year. The sequel to The Grace of Kings — The Wall of Storms — is due out in October. Ken has also written some short stories for Futures, including Second chance, The Plague and Celestial bodies. Preston Grassmann caught up with Ken to get his thoughts on Chinese SF and the challenges of translation.

去年,备受赞誉的作家和翻译家刘宇昆发表了他的处女作《国王的恩典》,他还翻译了刘慈欣《三体三部曲》中的两部(其中的第一部,《三体》,获得了2015年雨果奖最佳长篇小说奖)。刘宇昆对于当代中国科幻的热爱进一步体现在他的新书《看不见的行星(Invisible Planets)》中,这是一部中国科幻翻译选集,将在今年年底出版。《国王的恩典》续集——《风暴之墙》将于10月开始发售。刘宇昆还写过一些关于未来的短片小说,包括《第二次机会(Second Chance)》, 《瘟疫(The Plague)》和《天体(Celestial Bodies)》。Preston Grassmann邀请刘宇昆来分享他对于中国科幻思考和对于翻译的见解。

There was an article by Joshua Rothman in the New Yorker last year profiling the science fiction of Liu Cixin. He claims that American science fiction is largely reflective of its pioneering history. In particular, he refers to a thematic focus on frontiers, the war for independence and democratic ideals. However, scholars like Mingwei Song and Nathaniel Isaacson make it clear that Chinese science fiction is very diverse and this kind of thematic parsing must be carefully approached. Given that it’s inevitable for one’s historical context to play a role in narrative, do you think it’s possible to distinguish certain characteristics in Chinese science fiction? Q:去年,Joshua Rothman在《纽约客》上写过一篇文章大致介绍了一下刘慈欣的科幻小说。他指出美国科幻小说主要反映了其开拓史。特别地,他指边疆开拓、自由和民主之战等主题。然而,一些学者,如Mingwei Song和Nathaniel Isaacson,指出中国科幻小说的主题是非常多样的,这种类型的主题解析需要非常小心。历史环境影响小说的叙述背景,这是不可避免的,你认为能区分出中国科幻小说的特点吗?

While I do find Rothman’s analysis interesting and provocative, I generally resist the urge to make sweeping generalizations about a large body of work like ‘Chinese science fiction’ that encompasses many diverse approaches and influences and written by numerous authors each with their own unique approach to the genre.


我认为Rothman的分析很有趣,也很能引起讨论,然而,我不太愿意对中国科幻小说进行一个统一的论断,这些小说包含了许多不同的方法,受了很多方面的影响,而大量的作者为科幻这个文学体例贡献了他们自己的方法。


Some Chinese authors have given their own answers to your question. Xia Jia, a prominent Chinese SFF author and scholar, wrote an essay for Tor.com called “What Makes Chinese Science Fiction Chinese?”. Liu Cixin, probably the leading figure of contemporary Chinese SF, has stated in various interviews, (e.g, this one) that he thinks Chinese SF is at a stage of development similar to American SF of the “golden age” because the rapid pace of social change and techno-economic development pushes the future into the forefront of people’s minds and provides fertile soil for science fiction.


对你的问题一些中国作者已经给出自己的答案。中国著名的科幻和奇幻作者和学者,夏笳,为Tor.com写过一篇文章“什么是中国科幻?”。现代中国科幻的领军人物刘慈欣曾在多个访问(比如这个)中表示,他认为中国科幻正处在一个类似美国科幻黄金年代的阶段,社会变迁和技术经济的快速发展迫使人们思考未来,这样就有了科幻小说发展的沃土。


While I think literature must be understood in relation to the social context in which it’s produced, contemporary Chinese society is so complex and involves so many conflicting voices and trends that I think no simple answers can be given to characterize ‘Chinese science fiction’. The field is as complicated and layered as the society generating the works.


我认为文学需要在其创作的社会环境下去理解,另一方面,现代中国社会是非常复杂的,包含了许多对立的观点和趋势,这样,我认为不能用简单的答案来刻画“中国科幻小说”。社会产生作品,所以这个问题是复杂的、多层次的。(translated by dan)

== For many readers of science fiction, part of the pleasure of reading comes from experiencing ‘the other’, of being taken out of a familiar context and shown something entirely new. It would seem almost inevitable that readers of science fiction would be interested in translated fiction, given that it is informed, to some degree, by a different history and cultural context. Why do you think it has taken so long for foreign writers like Liu Cixin, to receive the notice they deserve? (By 阿勺)

对于科幻小说的大部分读者,阅读此类小说的乐趣源于“成为他人”,他们从熟悉的情境中跳脱出来,呈现不为人知的全新一面。科幻小说的读者对翻译的兴趣是无可厚非的,从某种程度上,翻译可让人了解一种不同历史和文化的土壤。你怎么看中国科幻作家刘慈欣花了如此多的时间才受到大众的关注?

I’ve read somewhere that less than 3% of the books published in the US each year are translations. This is very different from markets in other countries, where translations tend to make up a much bigger portion of published books.

每年我会读在美国出版的翻译书籍少于3%,这完全不同于其他国家出版书籍绝大部分由翻译类作品构成的市场。

The general lack of interest from US readers for translated works has many possible causes, and I think one contributing factor is probably the dominance of the US in global culture. America is the pre-eminent cultural exporter in the world, and its music, movies and popular culture tend to be valued by most societies and shape trends everywhere.

造成这种现象有许多原因,美国读者普遍对翻译作品缺乏兴趣,我认为其中一个因素可能是美国在全球文化占主导,美国是世界上优秀的文化输出国,其音乐、电影和流行文化渗透到大多数社会形态中,左右流行趋势无处不在。

American readers, as members of such a hegemonic culture, may consciously or subconsciously assume that what is American is also ‘best’ and whatever ideas are worth expressing have already been expressed in English (and better, too). Since English is the dominant language of modern science, politics and commerce, maybe many (most?) Anglophone readers share such natural arrogance to some degree. It takes an extra effort for American readers to pay attention to cultural products that aren’t American and aren’t originally produced in English. Foreign writers thus face an uphill battle for attention.

美国读者作为流行文化的一员,可能自觉或不自觉地认为“美国造”是最好的,无论什么值得表达的想法最好用英语。某种程度上,自英语成为现代科学、政治、商业(可能涉及更多)等领域的主流语言,母语为英语的读者产生了自然而然的傲慢。美国读者需要额外的努力注意区分哪些不是美国的文化作品,哪些不是英语书写的文化作品。因此,外国作家面临一场艰苦的战斗。

This is, of course, only a theory, and hard to prove or disprove.

当然,这仅仅只是一种说法,还无法证实或反驳。

== Some Chinese-to-English translators have noted that it’s difficult to capture distinguishing characteristics of the Chinese text while making it seem natural to English readers. One example you mentioned before is the omniscient point of view, which is not as common in modern English literature. What are some of the other challenges you had to face when translating from the Chinese?

一些中译英翻译者指出,很难捕捉到中文文本的特征,而对于英语读者来说却很自然。你之前提到的一个例子是无所不知的观点,这在现代英语文学中并不常见。当从中文翻译时,你必须面对的其他一些挑战是什么?

The omniscient POV is not really a feature of the language — it’s just that contemporary English genre literature has generally eschewed its use while many Chinese SFF works employ it to great effect.

无所不知的POV并不是真正的语言特征——只是当代英语流派文学通常避开其使用,而许多中国SFF作品使用它的效果很大。

In terms of translating from Chinese to English, the biggest difficulties for me have always involved literary allusions and historical references. Skilled Chinese writing is often replete with these — and if translated literally, most would be completely opaque to readers not steeped in Chinese culture (cf. the Star Trek: TNG episode “Darmok”). While translating, I have to make many decisions as to which of these references to keep and which to drop, which to explain and which to let stand (so that the reader can figure them out by context).

中译英的翻译方面,我最大的困难是涉及文学典故和历史参考的内容。中文写作一旦娴熟,引用典故就信手拈来,但对于读者来说,如果直译,对不熟悉中国文化的读者,大多数都晦涩不明,无法沉浸其中(参见《星际迷航》:TNG插曲“Darmok”)。在翻译过程中我必须做出许多取舍,决定哪些参考要保留,哪些要丢弃,哪些要注释,哪些要调整(以便读者能够通过上下文来理解它们)。

This is not to say that English writing isn’t filled with such allusions and references as well, but since Chinese readers are generally familiar with Western references, the English-to-Chinese translator doesn’t have the same difficulties as the Chinese-to-English translator. Once again, this is the result of the cultural hegemony of the West, and of the US in particular. People in the rest of the world know a lot more about Americanisms and European/American history than the other way around.

并不是说英语写作没有诸如此类的典故和参考,但中文读者普遍熟悉西方典故,英译汉翻译者就没有汉译英翻译者同等难度的困扰了。再次这是西方文化主导的结果,尤其是美国流行文化。世界上其他国家的人们对美国主义和欧美历史的了解远远多于其他方面。

There are other challenges related to linguistic features such as rhythm, puns, moods, voices, tenses, etc., but they’re relatively minor compared to the cultural issues.

尽管还有与语言特征相关的其它挑战,比如韵律,双关语, 语气,语调,时态等,但是与文化问题相比,它们相对是次要的。

There are some great translations, largely by you, of stories by Chen Qiufan, Xia Jia and Tang Fei. Who are some of the other writers that you think we should be aware of in Chinese science fiction? 陈楸帆、夏笳和糖匪的小说有很多精彩的译本,主要是由您翻译的。您认为还有哪些中国科幻作者是我们需要知道的呢?

Bao Shu, whose wonderful novella “What Has Passed Shall In Kinder Light Appear” I translated for F&SF, is someone to watch for. His debut novel The Ruins of Time is fast-paced and philosophically interesting. Hao Jingfang, an economist as well as a scifi writer, should also definitely be at the top of the reading list of anyone interested in Chinese SF or SFF in general. Her story, “Folding Beijing”, is a good intro to her work.

宝树,我为《科幻小说月刊(Fantasy & Science Fiction)》翻译了他的精彩的中篇小说《大时代(What Has Passed Shall in Kinder Light Appear)》,他的长篇处女作《时间之墟》是一部节奏明快,充满思考乐趣的小说。郝景芳,是一位经济学家同时也是一名科幻作者,任何一位喜欢中国科幻和奇幻的读者都应该优先阅读一下她的作品,不妨从《北京折叠》开始读起。

What new translations do we have to look forward to? 您将会有哪些新的译作呢?

I have a collection of translated short fiction called Invisble Planets coming out from Tor Books, which I’m really excited about. Meanwhile, I also translated Chen Qiufan’s debut novel, The Waste Tide, and it should be released in the American market soon.

非常高兴,我有一个短篇小说翻译作品集叫做《看不见的行星》将由托尔出版社(Tor Books)出版。与此同时,我也翻译了陈楸帆的长篇处女作《荒潮》,不久后将在美国面世。

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