nal names do not necessarily have. Now let us see a short list of how the names appeared in theJapanese and Chinese versions.Maori 20 Japanese 21 Chinese 221, Whangara (the actual place) ファンガラ 泛 歌 拉2, Kahutia Te Rangi (the ancestor) カフティア・テ・ランギ 天 人 卡 呼 提 阿3, Porourangi (the heroin’s father) ポロウランギ 泊 罗 浪 击4, Koro Apirana (the tribe leader) コロ・アピラナ 祖 父 阿 皮 拉 纳(『コロ』は『おじいちゃん』の 意 )5, The Lord Tangaroa (the governor of the ocean kingdom)タンガロア淌 歌 若 阿Compared with the katakana used in the Japanese version, the Chinese characters providemuch more images of water movement, singing and calling. However, the majority of Maorinames cannot be substituted by meaningful kanji, and therefore in the Chinese translation, manyChinese characters function just like the katakana in the Japanese version. Nevertheless, becauseof the meaning of the Chinese characters, the Chinese version, to some extent, reflects the richnessof visual and acoustic images in the original text. In the Chinese version, more cultural valuesare added to the names, so that the names become more meaningful. This kind of enrichment(or corruption) is an inevitable aspect of ‘cultural translation’.Generally speaking when translating a literature work, all translators make efforts in selectingwords, presenting visual images, choosing phonetic signs, and adjusting literary styles. It is aconstant endeavor to take balance between retaining the original culture and incorporating thehost culture. The foreignness and the familiarity must co-exist. Otherwise, the translated workcannot be understood properly.Another difficulty in the translation is how to render some visual images in Maori culture intoChinese verbal expression, when actual images cannot be presented. Sometimes the reader mayimagine things quite different from the original ones. Just give several examples in the openingparagraph of the novella.The original one:In the old days, in the years that have gone before us, the land and sea felt a great emptiness,a yearning. The mountains were like the poutama, the stairway to heaven, and the lush greenrainforest was a rippling kakahu of many colours. The sky was iridescent paua swirling with the20 Ihimaera, Witi, The Whale Rider, First published 1987; New edition 1992; 3rd edition 2002; reprinted2003, Auckland: Reed Publishing (NZ) Ltd.21 『クジラの 島 の 少 女 』ウィティ• イヒマエラ 著 、 澤 田 真 一 、サワダ・ハンナ・ジョイ 訳 、 角 川 書店 、2003 年 。22 《 骑 鲸 人 》 威 提 • 依 希 马 埃 拉 著 郭 南 燕 译 、 上 海 人 民 出 版 社 , 2006 年 。<strong>Cultural</strong> Translation between Traditions, Languages and Images17
kowhaiwhai patterns of wind and clouds; sometimes it reflected the prisms of rainbow or southernaurora. The sea was ever-changing pounamu, shimmering and seamless to the sky. This wasthe well at the bottom of the world and when you looked into it you felt you could see to the endof forever. (underlined by me)The Japanese one.昔 々、われわれが 生 まれるはるか 前 の 時 代 に、 陸 と 海 は 大 きな 空 しさを 覚 え、 満 たしの 時 が 来 るのを 待 ち 望 んでいた。 山 々は 天 に 掛 けられたポウタマ( 階 段 )、 瑞 々しい 緑 の雨 林 は 細 波 の 立 った 色 とりどりのカカフ(マント)のようであった。 空 は、 風 と 雲 が 織 り成 す 渦 巻 きの 模 様 を 装 った 玉 虫 色 のパウア 貝 で、おりおり 虹 のプリズムや 南 の 方 のオーロラを 映 し 出 した。 海 は 変 化 自 在 のポウナム(グリーンストーン= 緑 色 の 翡 翠 )で、 煌 めきを 途 切 らすことなく 空 にまで 届 いた。ここは 世 界 の 底 にある 泉 。 中 をのぞき 込 めば、 永 遠の 終 わりまで 見 通 すことができるような 気 がした。The Chinese one.在 古 老 的 日 子 里 , 在 流 逝 的 岁 月 间 , 大 地 和 海 洋 沉 浸 在 巨 大 的 空 旷 和 渴 望 之 中 。 山 岳 如同 通 向 天 堂 的 阶 梯 , 葱 翠 的 森 林 仿 佛 室 多 色 的 浮 动 斗 篷 。 灿 烂 的 天 空 呈 现 出 漩 涡 状 的 风 云 ,有 时 映 出 七 色 彩 虹 , 有 时 反 射 出 南 极 之 光 。 海 水 变 幻 无 常 , 波 光 粼 粼 , 水 天 相 连 , 融 为 一体 。 这 里 是 世 界 底 部 的 井 口 , 如 果 一 直 往 下 看 , 你 将 瞥 见 永 恒 的 尽 头 。The underlined words in the Maori cannot be easily visualized by the reader from differentcultures. However, this kind of lack of understanding or misunderstanding is something unavoidablein the process of ‘cultural translation.’ Wilhelm von Humboldt believed that ‘all understanding…isalways at the same time a misunderstanding.’ 23 Nevertheless, it is recognized that ‘the actof translation enriches and gives new life to the original, saving it from oblivion and even transformingthe language of the source text in the process.’ People always try to understand foreigncultures against their own cultural background. When the terms from their own culture are used,overlapped images are created. In fact, ‘cultural translation’ is also a process of hybridizing cultures.In this novella, the most common thing that can be understood universally is the gender issuepresented. Without this universality, the reader may not be easily attracted to the theme of thestory. It is a problem almost every nation, every culture, every generation has been facing. Thatprobably is why the film has won such an enthusiasm in the world after it was released in 2002.It was awarded numerous prizes by the audience. Many people over the world could identifythemselves with the hardship the heroin was experiencing.ConclusionIn this paper, I have only focused on a few aspects of ‘cultural translation’. ‘<strong>Cultural</strong> translation’is an attempt of interpreting different cultures. It also occurs between generations, social groupsand individuals. It takes place anywhere and anytime. We need to have constant ‘cultural translations’in order to make sense of things we are unfamiliar with. There also frequently exists misunderstandingin this process. Until we share misunderstanding, cannot we be conscious of theexistence of misunderstanding.1823 Jill Scott ‘Translating Myth: The Task of Speaking Time and Space’, in Fuall, Katherine M., 2004, Translationand Culture, Lewisburg, Pennsylvania: Bucknell University Press, p.60.Nanyan Guo
- Page 1: Cultural TranslationsProceedings of
- Page 4 and 5: PrefaceThe idea of organizing a wor
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- Page 8 and 9: Literature and Transculturality:Som
- Page 10 and 11: agenda of Herder, which was to figh
- Page 12 and 13: nomenon. However, until long into t
- Page 14 and 15: Tawada’s work appeared in Swedish
- Page 16 and 17: multiple interpretations. Japan is
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- Page 20 and 21: George P. Murdock illustrated the p
- Page 22 and 23: ancestor of the Maori arrived in Ao
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- Page 28 and 29: PRELUDEIn 2003, an original artisti
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- Page 34 and 35: since there are many Asians and Pac
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- Page 42 and 43: Although some space for improvisati
- Page 44 and 45: whom have devoted many years to ser
- Page 46: POSTLUDEBy way of conclusion, allow
- Page 49 and 50: IntroductionThe aim of this paper i
- Page 51 and 52: to discuss what role Japan was to p
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- Page 59 and 60: most impracticable people in the ea
- Page 61 and 62: intending to give the Book a quasi
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- Page 65 and 66: FUJIWARA Masahiko. (2008) Kokka no
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as Murakami opts for a globalized v
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market. 17 Another indispensable to
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(This is part of my doctoral thesis
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elieve advances man’s progress he
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ender the New Testament into Japane
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a synonym for kami. The latter is a
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The American school text is in the
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Willson Reader 46 T73 47I will not
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Gentlzer, Edwin & Tymoczko, Maria 2
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Tea ceremony or tea cult?Translatin
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Company (VOC), men came from differ
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H. Stolpe gathered items in Japan f
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simple presentations had negative i
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theticism, with its manifold bearin
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Kumakura, Isao (1980) 近 代 茶
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1. Introduction and aim of the pape
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main character and the caller doesn
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not” and ”at present” that ha
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match this name, a sea as artificia
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I John Gabriel BorkmanHenrik Ibsen
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his dream during the 1870s, when ca
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make a decision. But it turns out t
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Ôgai’s change of translation str
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Behind every utterance lies two mot
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a large group of persons be gathere
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The “Territory of Translation”
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八 十 日 間 世 界 一 周 :
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heuristic tools, especially conside
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Left: Photo of Kawashima Chūnosuke
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Burlington Gardens is in London (Ro
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門 アリ 入 リテ 見 レバ
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scene seems to be merely one of man
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Niwa Jun’ichirō’s Spring Tale
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The text is full of detailed descri
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where the narrative voice does not
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The reason the “territory of tran
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Translating the Trip Around the Wor
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ForwordI have been working on my do
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clining though. By the end of 1980
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幸 い 神 の 怒 りは 鎮 ま
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The Public Sphere as Deliberation o
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and absence of hierarchy would have
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was used much like we would use “
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outcasts and bandits - were suppose
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cal sense, the arena where particip
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society” and in which “there wa
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sic formulations, the public sphere
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はじめに日 本 統 治 下 の
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似 地 一 下 一 下 拽 那 鼻
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ということから、 古 丁
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の「 序 」で、 大 東 亜
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3.1 翻 訳 と 満 洲 国 語 政
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取 り 入 れを 主 張 する
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文 化 の 翻 訳 としての「
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史 性 にも 留 意 すべきだ
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て、 渦 巻 きよりほかは
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変 わらないということも
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訳 語 と 新 語 から 見 る
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しは「 無 為 」や「 本 性
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思 想 を 基 礎 として、
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って「 物 理 上 哲 学 」
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し、まさにはこの 時 期
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意 譯 : 理 學 、 性傅 汛
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柴 田 昌『 增 補 訂 正 英
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一 八 七 七 年 、 文 部 省
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日 中 友 好 の 象 徴 「 鑑
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と 指 摘 した。成 吉 思
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をあげている。さらにま
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に 請 ひて 出 家 を 求 む
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この 時 奉 請 の 十 師 等
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歴 史 小 説 『 天 平 の 甍
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点 」が 生 じたと 指 摘
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まず、 昨 今 、 活 発 に
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2、 従 来 の 比 較 文 学 (c
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普 遍 理 論 を 適 用 し、
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ス・テグネル(Esaias Tegnér,
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に 満 ちる「 生 命 」に
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う 形 をとって 展 開 した
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学 が 大 学 で 展 開 して