2022年文化翻译项目翻译一收集 .pdf

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1、文化翻译项目翻译（一）Japan Japan s oldest literature comprised the uta or songs of war, love and drink that originally had no written expression. Before writing, the islandsfirst readers probably scanned knot records like those of the southern Ry ky Islands, a recording device known from Asia to the Americas.

2、 Once the Han Chinese invaded Korea in AD108, however, Chinese character writing circulated among a very small circle of Japanese courtiers, the characters then appearing on a range of borrowed artefacts, such as metal mirrors, throughout the first few centuries AD. In subsequent centuries Chinese c

3、ulture and literature greatly impressed, then began influencing, the Japanese aristocracy through specifically Korean instrumentality, in ways that are still unclear. Emperor jin (ruled AD 380-95) is even alleged to have had the Crown Prince instructed by two Korean scholars in, among other subjects

4、, the Chinese script and literature. When in the middle of the sixth century AD, on a account of this Sino-Korean stimulus, Buddhism became Japan s official religion, Chinese writing penetrated non-courtly domains of Japanese society and also began to inspire wider geographical areas of the islands.

5、 Now, in order to further their Buddhist studies, Japanese scholars often went on pilgrimage to China. (This was when Celtic and Anglo-Saxon monks were travelling to Gaul and Italy to study the Church Fathers.) Japan finally established a Confucian-based central administration in AD645, which flouri

6、shed for over five hundred years. During this era Japan institutionalized Chinese writing, adapting it to convey also Old Japanese sounds. With this, the historical Japanese civilization was born. Japanese yomu ( to read ) also denotes to read aloud, recite, repeat; extol; understand, realize; compo

7、se . The original concept clearly embraced the oral performance, whereby all reading was loud readingthe spoken word made both visible and audibleand the ancient uta of the oral tradition were interpolated in the oldest written Japanese prose. Up to the end of the sixth century, however, Japanese re

8、ading remained Chinese reading. At this point, as an expression of the indigenous franchise, Japanese began using Chinese characters to compose descriptions of Japan. The Kojiki ( Account of Old Events , AD 712) recorded orally transmitted ancient myths, for example, as well as tales and factual his

9、torial events; it is Japan s literary foundation. The Nibongi ( Japanese Annals , AD 720) was the islands first official work of history, following the Chinese model in language and structure and relating the Imperial pedigree chronologically from mythical conception up to the year 697. But the Japa

10、nese treasured their own unique form of lyric poetry, too, which juxtaposed a short with a long line of syllables, emphasizing rhythm, not rhyme. Already between AD 750 and 800 the Many -sh ( Ten Thousand Leaves Collection ), boasting approximately 4,500 uta, was written down in Chinese characters.

11、Though ancient indigenous Shintritual prayers were recorded in the 名师资料总结 - - -精品资料欢迎下载 - - - - - - - - - - - - - - - - - - 名师精心整理 - - - - - - - 第 1 页，共 8 页 - - - - - - - - - Engishiki (927), Chinese culture and language still prevailed. From the sixth to the ninth centuries Japanese ambassadors had

12、 been shipping Chinese art and literature back to Japan, where all culture was gradually being modelled after the Chinese ideal. Foreign Buddhism, not indigenous Shint ism, inspired and perpetuated Japanese reading. In this vein, a Japanese text could address not a human but, as in China, a divine r

13、eadership. In 764 Empress Koken, for example, defeated the Confucians and, reoccupying the throne with the new name of Sh toku, ordered one million dh r ni or Buddhist charms in printed (woodcut) scrolls to be produced and distributed among ten major Japanese temples as divine thanksgiving. None of

14、these scrolls was meant to be read . Alone the act of offering a text secured divine favour. The more copies, it was believed, the greater the divine response. The project took six years to complete. Ironically, there was no one to read it in the end. The greatest printing enterprise in antiquity, i

15、t had no effect whatsoever on printing, literature or reading in Japan. Indeed, no further works were printed in the islands for another two centuries. In the eleventh century the nobles of Heian-Ky (today s Kyoto) regularly produced print-runs of one to one thousand copies of prayers for the dead o

16、r for rain. Again, these were simply offered up at temples, to be read by the gods alone. As the Japanese monk Ennin had witnessed on China s holy mountain Wu Tai Shan, enormous print-runs in East Asia did not necessarily betoken a high readership, notwithstanding the number of elevated literate dei

17、ties. 公元 11 世纪，平安京（当今日本京都）官宦贵族定期印刷佛经为亡灵祈祷或祈雨，每次多达1-1000 册。这些佛经依然只为佛寺祭祀印刷，是只给神佛看的。日本高僧圆仁在中国佛教名山五台山学习佛法时，尽管东亚已有大量佛经印本，尽管当时有一定数量的被奉若神明的贤人高人，但是读者群体还未形成规模 。None the less, by the eleventh century some temples around Nara were also printing Buddhist texts for the instruction of monks, an increasingly commo

18、n reading matter. Literature in Japan had grown considerably by this time. In 894 the Japanese government in the new capital of Heian-Kyended official relations with China and consciously began developing a specifically Japanese identity. 尽管如此，截至到 11 世纪，奈良周边的佛寺继续印刷佛经，旨在弘扬佛法，普通的佛经读者数量因此增多；也就是此时，日本文学大

19、量涌现。公元894 年，日本朝廷迁入新都平安京， 结束了与唐朝的官方联系， 意欲构建日本民族之特征。Comprising a mixture of borrowed Chinese and indigenous Japanese elements, this was a new hybrid culture largely the result of Chinese reading, attaining its majority under regent Fujiwara no Michinaga in the late tenth century. However, beginning ab

20、out 900, the indigenous monogatari (Japanese tales, stories and histories) were also being recorded in prose narratives and widely distributed throughout the Japanese islands. That they now became a major genre that dominated the literary scene for many centuries was remarkably the result of the wom

21、en of Japan. 由于日本文化是外来汉语与本土元素相结合的产物，受中文阅读的影响巨大，所以，藤原家族操控下的日本，在10 世纪末，继续维系中文汉字的正统地名师资料总结 - - -精品资料欢迎下载 - - - - - - - - - - - - - - - - - - 名师精心整理 - - - - - - - 第 2 页，共 8 页 - - - - - - - - - 位。然而，自 900 年左右起，日本本土文学（包括神话传说、传奇故事、历史记载等）以随笔形式叙述记录下来， 并在日本岛内广泛传播。 现在随笔这种文学形式能在日本文坛统治成百上千年，应该归功于日本的女性。Most women

22、 in ancient Japan led short, brutish lives. As the historian Ivan Morris has written: The vast majority of Japanese women toiled arduously in the fields, were subject to harsh treatment by their men, bred young and frequently, and died at an early age, without having given any more thought to materi

23、al independence or cultural enjoyment than to the possibility of visiting the moon . 在古代日本，女性寿命很短，思维还未开化。正如历史学家伊万莫里斯书中所言： “在日本古代，绝大多数女性在田间辛苦劳作，对丈夫逆来顺受、言听计从，还要生养子女， 因此往往年纪轻轻就香消玉殒了。女性压根就别想物质独立或舞文弄墨卖、 弄风雅就， 就像在当时的条件下， 要人类奔月一样遥不可及。 ”But by the tenth and eleventh centuries AD a very small percentage of J

24、apanese womenthose in the courtwere living quite different lives. They were not merely privileged , in the Greek or Roman sense of the word: they were otherworldlly. They dwelt in restricted compounds in near-absolute seclusion, pursuing only the most sophisticated activities, like music and calligr

25、aphy. Each day comprised a quiet monotony of prescribed tasks. Barred from the language of men and their scholarship, and seldom allowed the privilege of oral conversation, they conducted most communication by letter. 但是，截至公元 10 到 11 世纪，日本女性中有少数人生活与普通人截然不同，她们生于达官贵族家庭，享有特权，用希腊、罗马人的世界观来说：“她们生活在另一个世界。”

26、她们深居于森严的大院，过着近乎隐修的生活，潜修音乐、书法，每天都有单一、 既定的目标任务。 由于朝廷严禁女性接触男性的语言和学问, 严禁任何口头形式的交往，所以，多数情况下，她们不得不靠书信交往。Nevertheless, such women managed to acquire general knowledge and to elaborate special ways to share this knowledge with one another, usually in secret. Women at court were not excluded from education;

27、indeed, they were allowed to indulge themselves with surprising liberality, provided they did so with seeming dispassion, maintaining the impression of gentle detachment , that ideal to which all courtly women in Japan were expected to aspire. Image, not reality, was everything. Women could practise

28、, then, elaborate masquerades to hide their true activities, which were often contrary to the courtly, male-dominated realm.然而，那些钟情于常识学问贵族女性，总是千方百计地暗中分享、交流学问见解。事实上，官宦贵族出身的女子没有被剥夺受教育的权利，她们可以尽情地陶醉自我， 设想她们以局外人的身份，冷静客观地看待世间的一切，这是所有日本官宦女子梦寐以求的追求。而事实却是，并非事事都可理想化。当时的女性才瑗，绞尽脑汁掩护真实活动，与男权统治的王朝抗争。Many of the w

29、omen s long, monotonous hours in the large, dark palaces of medi?val Japan were spent reading out loud to the other women, or listening to literature being read. As most genres of literature were the dominion of men, women were forbidden them; forbidden were also the Chinese writing characters, agai

30、n a male prerogative. And so courtly females appropriated the syllabic kana signs used until then as marginal or intercolumnar glosses for sounding out the Chinese 名师资料总结 - - -精品资料欢迎下载 - - - - - - - - - - - - - - - - - - 名师精心整理 - - - - - - - 第 3 页，共 8 页 - - - - - - - - - characters-which then became

31、 the women s own writing system. 中世纪的日本，许多贵族女子整天深居，相互朗诵、聆听经典，很是单调。由于男权主宰主流文学样式， 也只有男性才能使用中文汉字，因此表音的假名 （日语字母，用来给汉字注音）就成为贵族女性专用书写系统。Precisely those literary genres that Confucian scholars and Buddhist teachings disparaged (that is, light entertainment) now became the genres that courtly women, in thei

32、r cultured incarceration, began freely to access. 准确地说，由于儒家经典、 佛教教义太严肃， 缺少娱乐成分， 所以由贵族女性所创造的新文学样式，在倍受禁闭之后，终于可以自由传播。This gender divide came to split Japanese reading. There were now two irreconcilable reading domains: the substantial public domain, of philosophy, religion, science, geography and heroi

33、c tales; and the insubstantial private courtly domain, of fiction, domestic trivia, the otherworldliness of very special women. 性别之分开始把日本人的阅读领域分为两类。直到现在两类阅读领域仍在抗衡。一个公务使用，实力强大，占主导地位，包括哲学宗教科学地理和英雄神话；一个宫廷私下使用，处于下风，包括小说、国内琐事、奇女子奇闻。Each domain maintained not only its separate language, the one using men

34、s word and grammar, the other women s (a peculiarity of the Japanese language that continues to this day, though in greatly diminished fashion); each maintained its own writing system, too, the men using Chinese characters, the women theirkanasyllabic signs. To express the subject matter of one doma

35、in using the language and writing system of the other would not only have been socially unacceptable, it would have been linguistically impossible, so completely had the gender divide intruded. 两个领域各自为营，男性使用男性的语言和文法，女性使用女性语言和文法（这是日语的独特现象，虽说现在不再风行，却依然存在）。不仅如此，男女书写体系截然不同， 男性使用中文汉字， 女性使用本土假名音节符号。要用男性的语

36、言和书写系统来表达女性世界内容在当时不为社会接受；反之，亦然。再者，从语言层面来看也不可能。因此，日语就有了男女性别之分。At which juncture the courtly women began writing their own literature. It was a wholly female literature welling out of this gender-usurped syllabic writing system, which soon became known as the onna-de or women s hand . Actually, men hi

37、ghly respected the onna-de: like music, dance and the tea ceremony it was seen as a polite demonstration of female courtliness and submission-something that flattered and honoured the man who held them in his thrall, thereby supporting the status quo, the power hierarchy. Indeed, aristocratic men in

38、 time expected their women similarly to command composition, calligraphy, reading aloud and poetic interpretation. Using the onna-de Japanese women eventually created, too, not only their own written language, the special, courtly language that men were never allowed to speak, but their own literary

39、 corpus, their own women s library. This social phenomenon produced some of the world s most sublime literature, the unique distillation of an already lite Japanese reinterpretation of China s finest. With the continued elaboration of the onna-de, the two genres of diary and essay writing flourished

40、, now almost exclusively in female hands. The earliest documented female courtly 名师资料总结 - - -精品资料欢迎下载 - - - - - - - - - - - - - - - - - - 名师精心整理 - - - - - - - 第 4 页，共 8 页 - - - - - - - - - work of the Heian Period (794-1192) is the diary J ournal of Summer s End, wherein the authoress, writing in th

41、e third person, dispassionately chronicles the succession of melancholy days: As the days drifted away monotonously, she read through the old novels and found most of them a collection of gross inventions. Perhaps, she said to herself, the story of her wearisome existence, written in the form of a j

42、ournal, might provoke some degree of interest. Perhaps she might even be able to answer the question: is this an appropriate life for a well-born lady? This was the therapeutic quality of Heian women s literature: the shared image as confirmation of existential validity. These courtly inmates no lon

43、ger suffered uniquely in lonely isolation, since their literature now gave them a collective voice that reassured and soothed, diminishing the quiet agony with a flick of the brush. The voice rapidly diffused and united, and came to characterize an entire segment of Japanese society. Other prominent

44、 works of the era included the KagerNikki ( Diary of a Day-Fly , c. 974) and the Izumi Shikibu Nikki ( Diary of Lady Izumi Shikibu , c. 1010). Around 1000 Sei Sh nagon composed the first zuihitsu, one of Japan s literary pearls, with her Makura no Sosbi ( Pillow Book ), a sensitive and colourful suc

45、cession of amusingly critical observations on all aspects of daily Japanese life. As Sei Sh nagon here extolled about the equally popular genre of letter-writing: Letters are commonplace enough, yet what splendid things they are! When someone is in a distant province and one is worried about her/ hi

46、m, and then a letter suddenly arrives, one feels as though one were seeing her/ him face to face. And it is a great comfort to have expressed one s feelings in a lettereven though one knows it cannot yet have arrived. It was, however, undoubtedly the female monogatari that signalled the special cour

47、tly existence of Heian Japan. Now world famous is the unparalleled Genji Monogatari ( Tale of Genji ), composed around 1010 by Lady Murasaki Shikibu. Depicting in sensitive psychological depth the adventures of the amatory prince Genji and his sophisticated but unfortunate son Kaoru, the Genji Monog

48、atari inspired many imitations whose only change appears, nevertheless, to be the seasons themselves, as events dwindle to irrelevance in these atemporal dreamscapes. It is psychology that matters, the court hierarchy, the women s gossip, what is charming or vexing, pleasant or rude, the passing cen

49、sure, the discourteous opinion: Jane Austen in a kimono , one might quip, were the genre not something infinitely subtler and finer, merely approached but never truly attained in Western literature fir want of the social silk. It was actually Sei Sh nagon s confessional type of literature, not Lady

50、Murasaki s introspective analysis of a prince and his encourage, that truly roused the Heian courts: women writing about women s own feelings and impressions. Emotions were what courtly women most wanted to read. Something the onna-de readership could identify with and grasp within their bamboo-and-