Buitre o fénixla traducción y la recepción de la obra de Mario Vargas Llosa en China

Abstract

Mario Vargas Llosa is a great Latin American author in the world,and his works are translated very often in China. His works in Chinese version accord with the translation law of the Spanish literature. In this passage, we will take his works as examples to show the general translation situation of Spanish and Latin American literature in China. In order to study the state of his works' translation into Chinese in the Spanish literature' translation into Chinese, we should know the important state of the Spanish literature in the foreign literature' translation into Chinese, and we must figure out what the literature translation matters in China. The process of study is just like his writing style "China set box". In the first chapter, I will show the history of Chinese translation. Two thousands years ago, therehas been some translation activities in China. In that period, the translation mainly serves the government, and there is also poem translation in different nations, but these translations are less of systematic. In the dynasty of Dong Han(BC25-220), Buddhist sutras have been Introduced to China- The translation of Buddhist continues to the 19th century. During almost 1900 years, the translation of Buddhist sutras goes through critique and resistance, but for rulers, the translation of Buddhist sutras is always the important thing. During translating Buddhist sutras, many excellent Chinese translators and foreign.translators mainly from ancient India make great conJj'ibLition. in this chapter, except for stating the general process of Buddhist translation in China, I also introduce some translators' translation theories, for example, Hsuan Tsang and Kumarajiva, and state the battle between transliteration and free translation. In the end of 19* century, with the Invasion from west countries and Japan, instead of translating Buddhist; translators focused on the works about technology. From then to 1949, one important target of translation is to save the nation. In the end of 19th century and at the beginning of 20th century, Chinese translators translated many technology works to spread tiie advanced technology and successful patterns from west countries. At the same time, the translation of foreign literature entered the stage of start. In this period, most translations of works are lack of system and are of poor quality, but many translators are full of legend. For instance, Lin Shu who doesn't study any foreign languages translates hundreds of foreign literature works. In the first chapter, the translator Yan Fu Is referred frequently. His translation theory^faithfulness, expressiveness and elegance" is regarded as translation standard in China. The translation about technology works doesn't make difference in that time, so the Chinese translators gradually realize that It's thought not technology that can save China. Accordingly the translation of foreign literature is thought highly. In the first half of the 20th century, although being in the war time, Hie scholars were passionate for the debate on the literature and literature translation. Many translators such as LuXun and Mao Dun have many excellent translation versions of foreign literature and their own translation theories. The debate on transliteration or free translation makes the translation of foreign literature more energetic in China. In 1966, the Great Culture Revolution was broken, and translation of foreign literature had great change. In this period, the translation of foreign literature was almost stopped, except for the translation of some politically positive works. Until the end of the Great Culture Revolution, the translation of foreign literature gradually regain the energy. With the development of economy and translators, almost all important foreign literature works were translated into Chinese. The translation of Spanish literature Is an important branch of the translation of foreign literature. Generally their development trend is unanimous. As a minority language, the Spanish literature different from English and Russian literature can't rank the important standing, but the Spanish literature translation has its own unique characters. LinShu is the early one who translated Spanish literature, and he is the first one who translates^/? Quixote de id Mancha. In the 20th century, the works of the Spanish authors, PioBaroja and Vicente Blasco Ibafiez, have been translated into Chinese. In 1980s, the translation of Spanish and Latin American literature is still lack of systematic in China. In 1982, after GardaMarquez was awarded Nobef Prize, the translation of Spanish literature entered the boom period. The masterpieces of the famous Spanish authors were almost translated into Chinese, in 1392, China signed trie Universal Copyright Convention, which made great negative influence to the translation of Spanish literature in China. In 1990s, the Chinese readers preferred to the English, Russian and French literature, and they were less passionate for reading foreign literature than the reader of 1980s. The translation of Spanish literature met its Waterloo in China. In the 21th century, especially in 2009, the works of Vargas Llosa, GarciaMcirquez and Roberto Boiano etc. were translated into Chinese again, and the translation of Spanish literature recovered its vitality. In the third chapter, I summarize the process of Vargas Uosa's works' translation in China. This chapter will be divided into five parts. In the first three parts, I state the Vargas Uosa's works' translation situation in 1980s, 1990s and In the 21th century in China, meanwhile, I also show my own comparisons and comments. La ciudaci y ios perrons Chinese version published in 1981 is Vargas Uosa's work that was first translated into Chinese in all of his works, in 1980s, La casa verde, La tia Julia y ei escribidortL& guerra del fin dei mundo,Pantafeon y lasvisitadoras and Historia de Mayta,etc, they were all translated Into Chinese. Among these works, la casa verde Is the only one that has two translation versions in China. Through summarizing the process, I also want to show tiie whole situation of translation of foreign literature in China in different periods. For example, the Chinese translation version of Pantaieon y lasvisitsdoras is not the complete translation, because of a lot of love and sex scenes in this book. In 1990s, the translation of Vargas Uosa's works in China entered the prosperous period. In the famous Latin American literature series published by Yunnan People's Publishing House, Vargas Llosa's works are the most translated In quantity. From 1996, Vargas Llosa collected works that almost cover his all books published. From 2001 to 2008, there is only one new translation version of his book {Cartas a unjovennovellsta). In the latest ten years, Chinese readers almost have no Idea ahoutVargas Llosa. From 2009, with the publication of the Chinese versions of La ciudad y ios perms, 0 paratso en ia otraesquina and La fiesta del chivo, and after Vargas Llosa was awarded Nobel Prize in 2010, the most works of Vargas Llosa were published again, but these are almost the re-publication of the 1980s' old versions. In the fourth part of the third chapter, I scan some Chinese versions of Vargas Uosa's articles in some I important foreign literature magazines. The earliest article that introduces Vargas Llosa was published in i979‘s periodical, and from 2001 to 2008, the introduction about Vargas Llosa only appeared in these periodicals. So I think this passage will be incomplete if not referring these magazines. In the last part of this chapter, I will introduce and analyzethe spread and reception of Vargas Llosa's books. Here I adopt the methods of comparison between Spanish original book and Chinese versions, and I use the printing volume and media reports, There is a contradiction, that is, although Chinese writers, translators and literature researchers are full of praise about Vargas Llosa's works, the sale of the Chinese versions of these books is not good. I advocate we should divide the readers into two types. One is phoenix type readers, the other vulture type readers. Chinese i writers, translators and literature researchers and readers who often read foreign literature belong to the first! type, and they can understand the complicated writing skills in Vargas Llosa's books, and they can appreciate his books' positive meaning. The readers belonging to the second type know the value of Vargas Llosa's books, but they shrink back at the sight of the writing skills and complicated novel structure. In the first three chapters, I do a general analysis, and in the fourth chapter I will do the research in detail. I compare the two Chinese versions of La casa verde in detail, and I find there are six big differences between these two Chinese versions. They are:!, the different expression of the same phrase; 2, the mistranslation of the original text; 3. the readers' misunderstanding caused by the Chinese versions; 4. the application of annotations; 5. the reservation of literary value; 6, the translation of Spanish proverbs and the adoption of Chinese proverbs. Sun Jiameng, the Chinese translator of La casa verde, translates many Spanish literature works into Chinese, such as E( Ingenioso hidalgo don Quijote de fa Mancha, Rayuefa, etc. He published the book- A course in Spanish-Chinese translation in which he takes many translations of Vargas Llosa's works as examples. In the fourth chapter, I show my opinion about La casa verde, and I try to analyze the Chinese version of La casa verde from the point of my view, In the last part of the passage, I also introduce the translation situation of Vargas Llosa's books in Taiwan, and I want to show the overall translation situation of his books in China. In this chapter, I compare and study the mainland version and Taiwan version of 0 para/so en la otraesquina. Vargas Llosa is one of the only two Latin American writers who published the collected works in China, in 1978, Zhao Demlng,professor of Spanish literature in the University of Seijing,wrote an article which is the earliest introduction about Vargas Llosa. After two years, he published the Chinese translation version of La ciudad y /os perros. Vargas Llosa was introduced to China at the end of Cultural Revolution and in that time Chinese readers were full of passion for reading foreign literature. To some degree, Vargas Llosa became a witness of the translation of foreign literature In China during 35 years. The process of publication of Vargas Llosa's works' Chinese versions exactly right goes through the development, decline and revival of the translation of Spanish literature in China. On the basis of complete description and analysis of translation, publication and reception situation of Vargas Llosa's works, I want to do a complete analysis about the translation of Spanish literature in China. I also want to show the development of Chinese translators studying Spanish-Chinese translation and the situation of Chinese readers who read foreign literature. At the last, on the basis of performance we have achieved, I will point out the problems appearing in the process of translating Vargas Llosa's works and other Spanish literature works in China, For instance, we lack of different versions of the same works, and we need more young translators. With the rise of the number of students majoring in Spanish and with the translations of the most Spanish writers' works, the vulture type readers gradually turn Into the phoenix type readers. So I think Spanish literature still has great potential in China