我不是包法利夫人:幸亏误译

IF 0.4 3区 艺术学 0 FILM, RADIO, TELEVISION
B. Reynaud
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引用次数: 1

摘要

冯小刚2016年执导的电影《我不是潘金莲》在国际上映时,片名被翻译为《我不是潘金莲》。这部电影的女主角被前夫公开指责为潘金莲,为了伸张正义,她与县里的官僚机构进行了长达10年的斗争。我重新审视潘金莲的故事及其在中国文化中的不同版本,以及潘金莲的神话及其在20世纪中国的翻译情况,以讨论潘金莲被误译为潘金莲如何成为跨文化交流的门户。我借异位的概念,ecart、蒙太奇和倾斜从法国汉学家弗朗索瓦·于连的工作——以及弗朗索瓦•程的道德考虑必要的中国和西方文化之间的对话。由于中西方思想使用不同的逻辑范畴,我认为,除了翻译的字面准确性之外,通过一种倾斜的方法,可以在读者或观众的脑海中产生共鸣。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
I am not Madame Bovary: Felicitous mistranslation
Abstract The title of Feng Xiaogang’s 2016 film, Wo bu shi Pan Jinlian, which literally means I am not Pan Jilian, was translated as I Am Not Madame Bovary for its international release. The film’s heroine, publicly accused by her ex-husband of being a Pan Jinlian, wages a 10-year fight against the bureaucracy of her county to obtain justice. I re-examine the story of Pan Jinlian and its different versions in Chinese culture, as well as the myth of Madame Bovary and how it was translated in twentieth century China, to discuss how the mistranslation of Pan Jinlian into Madame Bovary becomes a portal for cross-cultural exchange. I am borrowing the concepts of heterotopia, écart, montage and obliqueness from the work of French Sinologist François Jullien – as well as François Cheng’s ethical considerations about a necessary dialogue between Chinese and Western cultures. As Chinese and Western thought use different categories of logic, I argue that, beyond the literal accuracy of a translation, a resonance may be created, through an oblique approach, in the mind of the reader or spectator.
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来源期刊
Journal of Chinese Cinemas
Journal of Chinese Cinemas FILM, RADIO, TELEVISION-
CiteScore
0.50
自引率
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发文量
16
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