The translator's voice embodied: Translating the "New Northeast Chinese Writers Group" from text to audio

在中国和其他地方，人们对原文翻译的忠实性的担忧仍然普遍存在，这从书评平台上有增无减的“翻译战争”(Remnick 2005)中可见一斑。近年来，有声读物在全球范围内的兴起也带来了“叙事者战争”(NOX 2011：137)，经典作品的不同录音引发了听众关于哪个叙述者最准确地捕捉“作者的声音”的辩论。然而，有声读物叙述者和译者之间的地位有一个惊人的不同：“商业有声读物的叙述者是一种明显的存在”(同上：133)，而文学翻译是“一种谦逊和疏远的存在”(同上)。我的项目将解决以下问题：(1)有声读物叙述者告诉我们关于翻译叙事中的“声音”是什么？如果模仿阅读(不仅由有声读物叙述者进行，而且有时由翻译者和普通读者间歇性地进行)不可避免地导致声音冲突--也就是说，当书面的“声音”与阅读的声音对峙时，我们是否需要将翻译的成功建立在所谓的“译者的声音”和“作者的声音”之间的距离上？以及(2)文学中的“声音”不再仅仅是文本的存在，而是一种化身和“发声”，它不再是一种隐喻，而是一种听觉现实？-文学译者如何扮演叙述者的角色，发出自己的声音，让自己被许多人听到？为了回答这些问题，我建议通过一个两阶段翻译项目来编织我作为文学译者的声音，并以包括双学涛、郑植和班玉在内的“新东北作家群”(黄氏2020)的作品为例。这些小说在主题上和形式上受到自中国市场转型以来东北中国后工业时代的声音格局的塑造，讲述了该地区下岗产业工人失去的未来，他们的声音一直没有被注意到，直到最近锈带小说和有声讲故事在中国的复兴。我会将三位作家每人至少一个故事从中文翻译成英文，然后通过对翻译结果进行语音解说来体现我的翻译“声音”。在文本翻译阶段(第一阶段：第一年)，我将通过添加脚注来研究这些作品的语言、文学和文化维度，以说明这些故事中登记的声音和声音如何捕捉、导入或汇聚它们所嵌入的文本外的声音场景。在将译文翻译成有声读物时(第二阶段：第二年至第三年)，我将采用莫妮卡·弗卢德尼克(Monika Fludernik)对以读者为导向的叙事学(1996)和最近的音频叙事学(Kuzmicová2016)的重新表述来解释文学翻译者的“自我表达”。通过这种方式，我的目标是产生“文学”翻译，不仅反映翻译文学被接受和消费的方式的变化，而且还提高文学译者的存在的可见性。通过“自我表达”将自己的译文重新翻译成有声读物，文学翻译者最终将获得读者能听到的、亲切的、真实的自己的声音。

Anxieties about the fidelity of translation to the work in its original language are still widespread in Chinaand beyond, evinced by the unabating "translation wars" (Remnick 2005) on book review platforms. Inrecent years, the rise of audiobooks across the globe has, in a similar vein, brought about "narratorwars" (Knox 2011:137), where alternative recordings of canonical works trigger listeners' debates overwhich narrator captures "the authorial voice" most precisely. Yet there is an alarming difference betweenthe status of the audiobook narrator and the translator: "the narrator voicing a commercial audiobook isa palpable presence" (ibid:133), while the literary translator is "a self-effacing and distant presence"(ibid).My project will address the following questions: (1) what do audiobook narrators tell us about "voice" intranslated narratives? Do we need to base a translation's success on the distance between the so-called"translator's voice" and the "authorial voice" if mimetic reading (performed not only by audiobooknarrators but occasionally and intermittently, by translators and general readers) inevitably leads toclashing voices-that is, when the written "voice" is confronted with the reading voice? And (2) whatabout the "voice" in literature that is no longer merely a textual presence but an embodiment and a"giving voice to" that is no longer a metaphor but an audial reality? -how might literary translatorsoccupy the role of narrator, giving voice to themselves and making themselves heard by many?To answer these questions, I propose to weave my voice as a literary translator through a two-stagetranslation project, using literary examples from the writings of the "New Northeast Chinese Writers'Group" (Huang 2020) that includes Shuang Xuetao, Zheng Zhi, and Ban Yu. Thematically and formallyshaped by the post-industrial soundscapes of northeast China since the country's market transition,these novels address the lost futures of the region's laid-off industrial workers, whose voices remainedunheeded until the recent renaissance of rust-belt fiction and audio storytelling in China. I will translateat least 1 story from each of the 3 writers from Chinese to English before embodying my translating"voice" by voice-narrating the resultant translations. At the textual translation stage (Stage One: year 1),I will work on the linguistic, literary, and cultural dimensions of these writings by adding footnotes toillustrate how the sounds and voices registered in these stories capture, import, or converge with theextra-textual soundscapes they are embedded in. When turning the translated texts into audiobooks(Stage Two: year 2-3), I will employ Monika Fludernik's reformulations of reader-oriented narratology(1996) and recent scholarship on audio-narratology (Kuzmicová 2016) to offer a hermeneutics of theliterary translator's "self-envoicement". In this way, I aim to produce "literary" translations that not onlyreflect changes in the way translated literature is received and consumed but also improve thepalpability of the literary translator's presence. By re-mediating one's own translation into an audiobookthrough "self-envoicement", the literary translator will finally gain a voice that is audible and intimate toher readers, and genuinely true to herself.