中国比较文学2014 年第4 期(总第97 期)
Classical Chinese Novels in Hungarian Translation
Peacute;ter Hajdu
(Institute for Literary Studies，Hungarian Academy of Sciences)
Abstract: In the socialist period (1957 － 1989)，Hungary experienced the golden age ofprojects，producing good books due to their reliable editing staff and good translators．Three of the four classical Chinese novels and Jin Ping Mei were translated in that periodinto Hungarian，although only the Water Margin (1961 ) and the Journey to the West(1969) were translated directly from Chinese by a leading sinologist，while the Dream ofthe Ｒed Chamber (1959) and Jin Ping Mei (1964) indirectly from abridged German translations．However，those indirect translations were the bigger hits，published and sold in several consecutive editions possibly because the two-step domestication of the texts foreignness solicited more active response from the Hungarian readers，or those family stories seemed more like western novels and more accessible． The situation of Chinese translations has dramatically deteriorated after 1989，but let us hope for its improvement．
Key words: direct translation; indirect translation; classical Chinese novel; Hungarian tradition of translation; Mo Yan
The Socialist period seems to have been the golden age of literary translation，especially prose translation in Hungary ［1:26］． Not the first couple of years with a rather orthodox Stalinist regime，which forbade not only translation and publication，but also library reading of every author who lived or had lived in countries running capitalist economic system that time． The extreme censorship actually killed Hungarian culture for about 6 years． From appr． 1954，but definitely after 1956 to 1990，however，the regime tried to finance the communist enlightenment program of culture． Translations were regarded as a means of educating the masses． It was an ideologically based and therefore state sponsored activity of the publishing houses to make all the important works of world literature ( supposed they did not evidently present unacceptable ideologies) available to the working masses． They had time，staff，and resources for that． Since publishers were not market oriented，they could invest many years in a project without any need of fast (or any) return．They also had a relatively reliable staff of editors and correctors，since political counter-selection did less harm on that rather low level of the intelligentsia．Publishing houses also had money，and translation payed relatively well． relatively，since we are speaking of a period when nobody was really well paid。
The situation was also rather fortunate ( at least from the viewpoint of translations) in labor supply． Many of the most talented prose writers were treated as suspicious persons by the communist party． Those writers were rarely allowed to publish their works or to have any job connected with the written culture． But they were allowed to translate to make their living． Geacute;za Ottlik，a towering figure of modern Hungarian prose，had to learn English in order to be able to translate Dickens，because it was the only activity with which he could avoid starvation［2:257 － 260］． As a result we have excellent Dickens translations on the level of the best contemporary Hungarian prose． I have to admit that some scholars tend to criticize Ottliks translations because of frequent inaccuracies，which is hardly a surprise，since he actually was learning English while translating Dickens，and others have the suspicion that the real translator was actually Ottliks wife，since she knew English． Be it as it may: from the viewpoint of a target oriented approach to translations they are excellent，since the quality of the target text is rather high．
This example is not at all exceptional． Many great Hungarian intellectuals preferred translation to writing original books，since it was a safe activity．The representatives of the publishing houses took the risk both for the selection of works to be translated and for the publication． A translator just created Peacute;ter Hajdu Classical Chinese Novels in Hungarian Translation texts as good as their talent allowed，and took the money． Writing essays or academic books was riskier: one could become the target of political attacks for his or her ideas，while there was nothing to win，since people did not need to publish anything to keep their jobs． And the situation was the same everywhere in Eastern-Europe: classical scholars for example rarely published books during the socialist period，but they translated a lot． With this said we arrived at the third aspect of the golden age of translations: the influence of the Hungarian Academy of Sciences and the humanities or scholarship in general．The Academy，in cooperation with the publishers，of course，developed plans of what should be translated． Such lists contained socialist versions of the canon of world literature，and scholars had to find reasons to include something in a list that could convince party authorities，but once that was done，a piece of literature very probably had everything to get translated: a good translator，time，money，editing staff．
It is hardly a surprise in such circumstances that the prestige of translation is relatively high even now in East-Europe，although the situation of translators has change immensely，and unfavorably． We should not mind that there is no central planning for translations，since it also meant that if a work was not included in the central plan，it could easily be regarded as forbidden．But there are no state owned publishers any more，and business enterprises always try to cut the costs ( paying less to the translators and not employing text editors) and to have as fast return as possible ( forcing translators to work with short deadlines) ． Talented intellectuals may have bette
剩余内容已隐藏，支付完成后下载完整资料
中国比较文学2014 年第4 期(总第97 期)
古典中文小说的匈牙利译本
Peacute;ter Hajdu(文学研究机构，匈牙利科学学院)
摘要: 社会主义时期(1957 － 1989)的匈牙利迎来了翻译的黄金时代:不以盈利为目的的国有出版社能够赞助长期的翻译项目，并因拥有可靠的编辑人员和众多优秀的译者而生产佳作。在此期间，《金瓶梅》和中国古典小说四大名著中的三部被译为匈牙利语，不过，其中只有《水浒传》(1961)和《西游记》(1969)是由一位杰出的汉学家直接从中文译入的，而《红楼梦》(1959)和《金瓶梅》(1964)均转译自德文删简版。然而，那些转译的作品却更受欢迎，不断再版。究其原因，也许是原作的异国因素在经过转译后，更易引起匈牙利读者的共鸣，但也可能是因为家族题材的小说与西方小说更为相类，更易为本土读者所接受。1989 年之后匈牙利对中国文学的翻译急剧减少，此种状况今后或许会有改善。
关键词: 直译; 转译; 中国古典小说; 匈牙利的翻译传统; 莫言
中图分类号: I106 文献标识码: A 文章编号1006 － 6101(2014)04 － 0110 － 10
社会主义时期似乎是文学翻译的黄金时代，在匈牙利［1:26］尤其是散文翻译。不是最初几年的那个相当正统的斯大林政权，不仅禁止翻译出版，而且图书馆里禁止阅读作者居住或曾居住在资本主义国家的作品。极端的审查扼杀匈牙利文化大约6年，从大约1954年，但绝对是在1956到1990年期间，然而，政府尝试过金融文化的共产主义启蒙计划。翻译作为教育群众的一种手段，这是基于意识形态的，因此国家赞助出版社，将所有的世界文学的重要作品（假设他们没有明显的不可接受的意识形态）提供给劳动群众。他们的员工有时间，和资源，因为出版商不市场化，他们可以投资很多年的项目而不需要任何快速的（或任何）的回报。他们也有比较可靠的编校人员的工作人员，由于相对于低水平知识分子，政治反选择不伤害。出版社也有了钱，翻译比较好。相对的，我们说的那个时期，没有人真的收入很高。
这种情况也相当幸运的（至少从翻译的角度）在劳动力供给时期，许多最有才华的作家被视为共产党疑似分子。那些作家很少被允许发布自己的作品或有任何工作与写作文化相关，但他们被允许为了生计进行翻译工作，Geacute;za Ottlik，现代匈牙利的散文的巨人，为了能够翻译狄更斯不得不学习英语，因为那是唯一使他避免饥饿的工作［2:257－260］。因此，在高水平的匈牙利现代散文作品中，我们有了优秀的狄更斯作品译本。我不得不承认一些学者因为作品中频繁的错误质疑Geacute;za Ottlik，这并不奇怪，因为他其实是为了翻译狄更斯而去学习英文，并且有些人怀疑真正的翻译者实际上是欧立克的妻子，因为她通晓英语。就算是这样：从目标导向的翻译观来讲，他们
are excellent，since the quality of the target text is rather high．
是优秀的，因为目标文本的质量是相当高的。
这个例子并不是在所有特殊情况下，许多伟大的匈牙利知识分子
preferred translation to writing original books，since it was a safe activity．
首选去翻译而不是写原创作品，因为它是一个安全的活动。
The representatives of the publishing houses took the risk both for the selection
出版社的代表们对这一风险都选择了
of works to be translated and for the publication． A translator just created
作品的翻译和出版，一个译者翻译中国古典小说，匈牙利语翻译文本跟原文一样好，就可以拿到钱。而写论文或学术著作的风险：可能因为他或她的思想政治而成为攻击的目标，而他们并没有得到什么，因为没人会让他们继续工作出版什么，同样的情况，东欧的古典学者，在社会主义期间很少出版什么，但他们翻译了很多。这表示我们到达翻译黄金时代第三方面，受匈牙利科学院和一般人文学术的影响。学院在与出版商合作的过程中，在应该翻译什么作品方面制定了成熟的计划。清单包含了世界文学的社会主义版本，而学者们不得不找出包括一个可以说服政党权威的东西，一旦这样做了，一件文学作品很有可能得到能够翻译的一切条件：一个好的译者、时间、金钱、编辑人员。
即使现在在东欧，在这种情况下，翻译的威望很难
is relatively high even now in East-Europe，although the situation of translators has change immensely，and unfavorably． We should not mind that there is no central planning for translations，since it also meant that if a work was not included in the central plan，it could easily be regarded as forbidden．But there are no state owned publishers any more，and business enterprises always try to cut the costs ( paying less to the translators and not employing text editors) and to have as fast return as possible ( forcing translators to work with short deadlines) ． Talented intellectuals may have better occupations，like writing their own books，but there are still many good
升高，虽然译者的情况已经极大地改变。我们不应该介意没有中央计划翻译，因为这也意味着，如果一个工作没有被纳入中央计划，它很容易被认为是被禁止的。但是没有国家允许出版商有其他更多的，并且企业一直试图削减成本（付更少的工资和不使用文本编辑器），并且尽可能得到快速的回报（迫使译者缩短工作期限）。优秀的知识分子可能有更好的职业，喜欢写自己的书，但市场上还是有很多好的译者--与没有天赋的，便宜的译者们有着激烈的竞争关系。我知道一个例子， Petra Gizella szaboacute;，他是一位优秀的双语翻译，无论德语到匈牙利语，还是反过来。她总是产生高质量的文本，但她翻译得缓慢小心。在1990年之后，没有出版社的耐受性，她不能以翻译为生，以前她或多或少能够做到。
这些变化对真正需要长时间来翻译的文学作品比如史诗一样的诗歌和长篇小说伤害最大，
frequently express wishes for new translations of important classic poetry or voluminous novels，but such translations need probably years，while nobody will pay the translator a penny． Who can afford to do this? To work on a translation project for years while one has to support themselves from something else? As a counterexample I would like to refer to the example of Zsuzsa Ｒakovszky，a good poet who nowadays，in a rather late phase of her career became an excellent prose writer． Since 1986 she has made her living as a freelance translator of English texts． In 2008 － 2009 it was she who translated Stephanie Meyers Twilight trilogy． On the one hand，she could translate very fast，since the English text is rather plain and simplistic，and then
经常表现为有想要翻译重要古典诗歌或长篇小说新译本的愿望，但这种翻译大概需要几年，然而没有人会为译者支付一分钱。谁能负担得起？为一个翻译项目工作多年，但是一个人必须支付自己生活中的其他开销？作为一个反例，我想指的是zsuzsa rakovszky，如今是个好诗人，在她职业生涯较晚的阶段成为了一个优秀的散文作家。自1986以来，她为了生活作为一个英语兼职翻译。2008－2009是她翻译的斯蒂芬妮梅尔的暮光三部曲。一方面，她翻译得很快，因为英语原文是平稳简单的，然后get paid; on the other hand，she wrote a much better text than the source text was，since however fast she worked，a first rank prose writer rewrote a best seller． It was possible due to the still high prestige of literary translation and the pressure of free market． Nevertheless we cannot help feeling it is a waste of talent: a good writer，when translating，should rather invest her energies in first rank texts．
得到报酬；另一方面，她写了一部比原作要好得多的文字，因为她工作效率高，于是一流的散文作家重写了一本畅销书。这可能是由于依旧很高的文学翻译的威望和自由市场的压力，但我们不得不感到这是一种人才浪费：一个好的作家，在翻译时，应该将她的精力投入到一级文本中。
我想有必要介绍一下背景，以展示一下在匈牙利的中国古典小说。因为那的确是很长的文本，如今似乎没有机会得到翻译，但这又是合乎逻辑的，社会主义出版商已经把这项工作放在他们的议程上，将它们提供给劳动群众，因为它们被视为世界文学经典的一部分。一个著名的匈牙利的汉学家，Barnabs Csongor 提供四个古典小说的翻译，即《水浒传》1961［3］，和《西游记》1969［4］。可以说，他曾经是一个重要的汉学家，因为他是 1963年到1983年chair of Hungarys single Department of Chinese in Budapest for twenty years(1963 － 1983)． He published important papers，but he never wrote a book．Just like I told earlier about the typical achievement of East-European intellectuals in the socialist era: probably the most important part of his output was his translations． He translated Chinese poetry and minor prose works too，but two such great translation project are also enough to respect him． And actually he did not finish the scholarly care about those novels with the publication．The 1977 second edition of Water Margin indicates it is an“extended edition”［5］，although nothing indicated in the first one that it was abridged．The fact itself that the first edition appeared in two while the second in three volumes does not necessarily mean that the latter has a longer text． He also
二十年的布达佩斯的匈牙利的汉学单系主任。他发表了大量重要论文，但他从来没有写过一本书。就像我说的前社会主义时代的东欧知识分子的典型成果：可能他输出的最重要的部分是他的翻译。他同时也翻译中国诗歌和散文作品，但仅凭这样两大翻译项目也值得尊重他。其实他没有完成学术关心那些小说的
剩余内容已隐藏，支付完成后下载完整资料
资料编号：[30927]，资料为PDF文档或Word文档，PDF文档可免费转换为Word
以上是毕业论文外文翻译，课题毕业论文、任务书、文献综述、开题报告、程序设计、图纸设计等资料可联系客服协助查找。
