2013年1月31日 星期四

The Treachery of Translators

The Treachery of Translators

The fact is, there were always going to be a lot of fish in “Vingt mille lieues sous les mers.” When a publishing house commissioned me to produce a new translation of Jules Verne’s 19th-century underwater epic, I was confident of bringing a degree of joyous panache to the story of Captain Nemo, his submarine, the Nautilus and that giant killer squid. But I had forgotten about its systematic taxonomy of all the inhabitants of the seven seas.
Somewhere around page 3 of “Twenty Thousand Leagues Under the Sea,” I got this feeling that I was starting to drown in fish. There are an awful lot of fish down there, and there were possibly even more in the middle of the 19th century. Whereas my ichthyological vocabulary, whether in French or English or indeed any other language, was severely limited. The fish (and assorted oceanic mammals), in other words, far outnumbered my linguistic resources. I now know I should just have boned up on fish, the way any decent, respectable translator would have done.
(Note to the decent, respectable translator: I teach a college class on translation but I accept your critique that I am long on theory and short on practice.)
Instead I started counting how many pages there were and calculating how much I was getting paid per fish. It didn’t add up. I realize now that I should have switched to “Around the World in Eighty Days” – there are far fewer fish in that one.
Jim Datz
My brilliant translating career hit another high when a French publisher invited me to translate Brigitte Bardot’s memoirs, “Initiales BB.” I had written a memoir about my childhood obsession with Bardot, so I said O.K. and suggested some modest revisions. It would have to be completely re-written from top to bottom and I would definitely take out all those exclamation marks. And I would put back in that affair with the English guy after she married Gunter Sachs – she should never have left that out! They took that as a “non.” Tant pis. All translators rewrite and rectify. Some even feel that they can do a better job of writing Bardot’s life than Bardot.
The law of karma is as unforgiving in the realm of translation as in any other and I was overdue for a taste of my own punishment. I had written a book about surfing in Hawaii called “Walking on Water,” which was eventually translated into Dutch. I had nothing to do with the translation and was simply presented with a fait accompli. My command of Dutch is negligible, but I thought I would test out “Lopen over water” by reference to a metaphor that was, if not my greatest contribution to literature, at least distinctively my own. There was a passage where I was drowning, but not feeling too put out about it, and I had written: “Death was warm and embracing like porridge.” I zeroed in on the sentence, but I couldn’t find anything even closely related to porridge. So I checked with a Dutch-speaking friend – could she tell me how the translator had done it?
“You’d better sit down,” she said.
The translator had not given my immortal metaphor the time of day. He had the same kind of hang-up about porridge that I had about fish. He took a shortcut right round it, passing seamlessly from the previous sentence to the one following. The porridge had not been lost in translation; it had been quite deliberately eradicated.
My first thought was to get on the next plane to Amsterdam and go and knock on his door. Maybe I could find some porridge and fling it in his face. My own transgressions, over the years, have taught me to be more tolerant and understanding. On the other hand, Herman, if you would like to put on gloves and shorts, we can resolve this matter in the ring, anytime.
It may have been this experience that caused me to write an article for a British newspaper titled, “Translation Is Impossible.” I was supposed to be reviewing a bunch of English-French dictionaries, but I happened to cite the classic Groucho Marx joke, which goes (in one of its variants), “You’re only as old as the woman you feel,” as an instance of the untranslatable. At least as far as French is concerned. You need a verb, “feel,” that functions both transitively and intransitively, and means something like “caress” and “my current emotional status” all at once. It doesn’t (so far as I know) exist in French. A couple of months later – inevitably – some friend in Paris sent me “La Traduction Est Impossible,” the French translation of my original article, which had been published in a Paris magazine.
Naturally the first thing I looked for was the translation of the Marxian pun. I was genuinely interested – I really wanted to know how the translator had pulled it off. And to think I had claimed it was impossible – I was about to be proved wrong! But translation is always an interpretation. In this case, the translator had written something like this, updating New York ’50s sexist humor into ’90s Parisian political correctness: “Here is an example of a sentence that is manifestly impossible to translate: ‘A man is only as old as the woman he can feel inside of him trying to express herself.’” So, in some sense, I felt vindicated, but also — as usual — betrayed by a graduate from the school of translation.
In my opinion, you don’t have to be mad to translate, but it probably helps. Take, for instance, the case of the late, great Gilbert Adair. He was translating into English the brilliant novel by Georges Perec, “La Disparition” – a lipogram written entirely without the letter “e.” (I had had a tentative go at eliminating the most frequently occurring letter in both English and French and failed utterly.) Adair even succeeded, for a while, in deleting “e” from his vocabulary. I met him for tea in London, while he was in the midst of it, at the Savoy hotel (it had to be the Savoy, not Claridge’s or the Grosvenor, obviously). When a waitress came around and asked if he would like “tea or coffee,” he frowned, gritted his teeth, and replied, “Lapsang souchong.”
Even his title is genius: “A Void” (think about it: He not only avoided the “e’s” in “The Disappearance,” but he also slipped in a dash of metaphysical angst and a cool play on words). The lesson I learned from Adair, a really serious translator, is this: You can’t get it right, so the only thing you can do is make it better.

Andy Martin
Andy Martin is the author of “The Boxer and the Goalkeeper: Sartre vs Camus.” He teaches at Cambridge University.

2013年1月26日 星期六

"口譯" vs 譯述


1921.5.5 胡適日記: 赴中美協進社的年宴,有熊秉三演說中國整理財政與新銀行團,頗有可可取之論;…..魏沖叔先生為之譯述。

Chinese McMansion, striking

We're seeing already that these Western themed developments are being supplemented by other theme styles. One in particular is the arrival of traditional Chinese themed communities. There's increasingly a Chinese McMansion that is going up next to the traditional French McMansion.

McMansion 非巨無霸建築. 凡是不雇其處的環境 採炫耀而(細部)低品質的暴發戶建築


Web definitions
McMansion is a pejorative term for a large new house which is judged as pretentious, tasteless, or badly designed for its neighborhood..

  1. Urban Dictionary: mcmansion

    www.urbandictionary.com/define.php?term=mcmansion - CachedShare
    A large and pretentious house, typically of shoddy construction, typical of "upscale" suburban developments in the late 20th and early 21st centuri...


     In a striking backward glance to the opening of diplomatic relations between China and Japan in 1972, Mr. Xi said that ‘‘like the older generation of leaders, we should show a sense of national and historical responsibility and political wisdom, overcome the difficulties in bilateral relations and push relations forward.’’習近平異乎尋常?地回首往事,提到了中日邦交正常化之初的1972年,他說,“我們要像兩國老一輩領導人那樣,體現出國家責任、政治智慧和歷史擔當,推動中日關係克服困難,繼續向前發展。”

     "體現出國家責任、政治智慧和歷史擔當"順序與英文不同   除非是當初建交時中方的說法 待查

     此處 striking 可能採此義
     Strikingly new, unusual, or different. See synonyms at new.
    不過我想更合乎脈絡 的可能是下述"意有所指"的表演說法:
    (strī'kĭng) pronunciation
    Arresting the attention and producing a vivid impression on the sight or the mind. See synonyms at noticeable.

2013年1月23日 星期三

The books have gall/ The iniquities of the opium trade with China

陳舜臣《鴉片戰爭》蕭自強譯 台北:遠流1995 一套6冊

p.1030拼寫錯誤 正確的書名為: 蕭譯: 對中國鴉片貿易罪惡論
既然作者是神學家書名的INIQUITIES就是"諸不義" iniquity, income inequality, parity, disparity, eq...


 The infamous “Fifty Shades” S-and-M trilogy by E. L. James began as an e-book and became a publishing sensation by adding a frisson of “Story of O”-style bondage to an old-fashioned romance novel. And “Downton Abbey,” which was supposed to last only one season, is beginning its third on PBS on Sunday and is basically a romance novel with a thick dollop of “The Forsyte Saga.” The books have gall; the television series has Galsworthy.
 E·L·詹姆斯(E. L. James)寫的邪惡的性虐三部曲《格雷的五十道陰影》,一開始是電子書,由於在老式的愛情故事中加入了《O的故事》(Story of O)式的捆綁元素,所以具有了興奮點,出版後轟動一時。《唐頓莊園》最初只打算拍一季,現在它的第三季將於本周日(2013.1月6日——譯註)在PBS頻道開始播放;從根本上講,它是一個帶有濃重的《福爾賽世家》(The Forsyte Saga)色彩的愛情故事。那個三部曲充滿了厚顏無恥的性愛;而這部系列電視劇則具有高爾斯華綏(Galsworthy,《福爾賽世家》的作者——譯註)的深度。

紅標部分可能連THE BOOKS 和gall 都翻譯錯誤
The Forsyte Saga (有漢譯) 應該沒這種性愛?

2013年1月19日 星期六

多重譯: she , Internet, he "Fresh Prince" theme song 64命

同字/詞而有多異名者要等時間才能見真章. (電影和書籍名稱會因各區域的文化而改變不計)

譬如說 she 可有他與她.  (她是20世紀新造字)
internet 現在至少有三種翻譯: 網際網路 (此四字太麻煩  台灣採用)或互聯網
[名]((the 〜))インターネット:全世界にまたがるコンピュータネットワークの集合体(▼the Netともいう) an Internet caféインターネットカフェ.
'Fresh Prince' theme song after it's been Google translated 64 times
Los Angeles Times
If you're a '90s kid, then you probably know all the words to the "Fresh Prince" theme song. But do you know what the lyrics would be if you translated them into Mandarin and back to English? Worse, what if you translated the lyrics into Mandarin, took ...

2013年1月9日 星期三

蕭珊譯 Ivan Turgenev 中短篇小說《草原上的李耳王》 Resignation by Friedrich von Schiller

Ivan Turgenev 中短篇小說選《草原上的李耳王》蕭珊譯上海文藝出版社等  2011

作者簡介 · · · · · ·

19 世紀俄國現實主義小說家、詩人、劇作家。他的小說迅速及時地反映了當時的俄國社會現實,其語言簡潔、樸質、精確、優美,為俄羅斯語言的規範化作出了重要貢 獻。本書集中收入了屠格涅夫的《初戀》、《阿霞》等著名中短篇小說,從這些凝練、動情的篇章裡,我們可以讀出作者對於“青春”欲說還休的摯誠與惆悵。

目錄 · · · · · ·

附錄懷念蕭珊  (1979.1.16  我很喜歡她翻譯的普希金和屠格涅夫的小說  雖然譯文並不恰當   也不是普希金和屠格涅夫的風格它們卻是有創造性文學作品......" 頁427
HC按:本書的注解很可以  不過先後順序有缺點     小說中多次談到席勒的"順從命令"  現在網路上可讀英文翻譯:

"Give me the woman precious to thy heart,
   Give up to me thy Laura!
Beyond the grave will usury pay the smart."—
I wept aloud, and from my bleeding heart
   With resignation tore her.

Resignation by Friedrich von Schiller

Yes! even I was in Arcadia born,
   And, in mine infant ears,
A vow of rapture was by Nature sworn;—
Yes! even I was in Arcadia born,
   And yet my short spring gave me only—tears!

Once blooms, and only once, life's youthful May;
   For me its bloom hath gone.
The silent God—O brethren, weep to-day—
The silent God hath quenched my torch's ray,
   And the vain dream hath flown.

Upon thy darksome bridge, Eternity,
   I stand e'en now, dread thought!
Take, then, these joy-credentials back from me!
Unopened I return them now to thee,
   Of happiness, alas, know naught!

Before Thy throne my mournful cries I vent,
   Thou Judge, concealed from view!
To yonder star a joyous saying went
With judgment's scales to rule us thou art sent,
   And call'st thyself Requiter, too!

Here,—say they,—terrors on the bad alight,
   And joys to greet the virtuous spring.
The bosom's windings thou'lt expose to sight,
Riddle of Providence wilt solve aright,
   And reckon with the suffering!

Here to the exile be a home outspread,
   Here end the meek man's thorny path of strife!
A godlike child, whose name was Truth, they said,
Known but to few, from whom the many fled,
   Restrained the ardent bridle of my life.

"It shall be thine another life to live,—
   Thy youth to me surrender!
To thee this surety only can I give"—
I took the surety in that life to live;
   And gave to her each youthful joy so tender.

"Give me the woman precious to thy heart,
   Give up to me thy Laura!
Beyond the grave will usury pay the smart."—
I wept aloud, and from my bleeding heart
   With resignation tore her.

"The obligation's drawn upon the dead!"
   Thus laughed the world in scorn;
"The lying one, in league with despots dread,
For truth, a phantom palmed on thee instead,
   Thou'lt be no more, when once this dream has gone!"

Shamelessly scoffed the mockers' serpent-band
   "A dream that but prescription can admit
Dost dread?  Where now thy God's protecting hand,
(The sick world's Saviour with such cunning planned),
   Borrowed by human need of human wit?"

"What future is't that graves to us reveal?
   What the eternity of thy discourse?
Honored because dark veils its form conceal,
The giant-shadows of the awe we feel,
   Viewed in the hollow mirror of remorse!"

"An image false of shapes of living mould,
   (Time's very mummy, she!)
Whom only Hope's sweet balm hath power to hold
Within the chambers of the grave so cold,—
   Thy fever calls this immortality!"

"For empty hopes,—corruption gives the lie—
   Didst thou exchange what thou hadst surely done?
Six thousand years sped death in silence by,—
His corpse from out the grave e'er mounted high,
   That mention made of the Requiting One?"

I saw time fly to reach thy distant shore,
   I saw fair Nature lie
A shrivelled corpse behind him evermore,—
No dead from out the grave then sought to soar
   Yet in that Oath divine still trusted I.

My ev'ry joy to thee I've sacrificed,
   I throw me now before thy judgment-throne;
The many's scorn with boldness I've despised,—
Only—thy gifts by me were ever prized,—
   I ask my wages now, Requiting One!

"With equal love I love each child of mine!"
   A genius hid from sight exclaimed.
"Two flowers," he cried, "ye mortals, mark the sign,—
Two flowers to greet the Searcher wise entwine,—
   Hope and Enjoyment they are named."

"Who of these flowers plucks one, let him ne'er yearn
   To touch the other sister's bloom.
Let him enjoy, who has no faith; eterne
As earth, this truth!—Abstain, who faith can learn!
   The world's long story is the world's own doom."

"Hope thou hast felt,—thy wages, then, are paid;
   Thy faith 'twas formed the rapture pledged to thee.
Thou might'st have of the wise inquiry made,—
The minutes thou neglectest, as they fade,
   Are given back by no eternity!"

  • [rèzignéiʃən]
1 [U]辞職, 辞任;[C]辞表, 辞職願
the resignation of a cabinet
hand in [=send in, give, offer] one's resignation
2 [U]あきらめ, (…に対する)忍従((to ...)) 任苦任怨
blind resignation to authority
accept one's fate with resignation
3 [U](権利などの)放棄, 断念((of ...)).

 Ivan Turgenev

2013年1月4日 星期五

"鐘の声 "vs 鐘磬



驕奢者之不久長,只如春夜的一夢,強梁者終敗亡,恰似風前的塵土。----《平家物語‧祇園精舍》周作人譯 北京: 中國對外翻譯出版公司,2001,頁3

驕奢之人不長久,好似春夜夢一場;強梁霸道終殄滅,恰如風前塵土揚。----《平家物語‧祇園精舍》申非譯 北京:燕山出版公司,20 00,頁1

 -----2013.1.5 "鐘の声 "vs 鐘磬

平家物語日本語平家物語へいけ ものがたり Heike Monogatari),成書於13世紀日本鎌倉時代)的軍記物語,作者不詳,記敘了1156年-1185年這一時期源氏平氏政權爭奪。

 鐘磬是古漢文的習語. 我現在還沒弄清楚"祇園精舎"有無"磬".......

林謙三《東亞樂器考‧梵钟形态里的印度要素》錢稻孫譯 北京: 人民音乐出版社,1999,頁52-56

原文 譯文
平家物語 巻第一
第一句 祇園精舎 ぎおんしょうじゃ

2013年1月1日 星期二

談 logothesis (Roland Barthes)

Sade 的論述與"語文"密切相關

建議先讀1976年的訪問: A Great Rhetorician  of Erotic Figures 收入 The Grain of the Voice,  pp.252-57

Sade, Fourier, Loyola



羅蘭·巴爾特(Roland Barthes) (作者), 李幼蒸 (譯者) 


 第二種運作是進行分節〔articuler〕。按照無明確記號的語言,傅立葉把人區分為1620種固定 ​​的情感,它們可以結合但不能轉換;薩德將快感分類,就像是把語句中的字詞分類(狀態,修辭元,片段,場景);羅猶拉切割身體(按照5種意義中的每一種加以連續體驗的),就像是切分基督的故事(在該詞的戲劇意義上劃分為諸“聖劇”)。在一種組合體內除了這些被切割的記號就沒有任何語言被運作著;我們的三位作者在計數著、組合著、安排著、不斷產生著這些拚合規則;他們把句法、作文(composition,這是一個修辭學的、依格那修教學法的詞)代之以創造;這三位物戀者依附著被切割的身體,一種整體的重構對於他們只能夠是一種諸可理解因素之總合:沒有不可讀解者,沒有快感、幸福、交流的不可歸約的質量:9沒有什麼不可言說:對於薩德和對於傅立葉來說,色情和精神都應該被分節〔articulés〕 ,正如對博舒哀一樣(維護依格那修語法,反對不可言說的神秘家聖十字若望和費柰龍),祈禱必須通過語言進行。
第三種運作是秩序化:不再只是安排基本的記號,而是使色情的、享樂的或神秘的重要片段服從於一種較高的秩序,此秩序不再是句法的而是韻律的;新的話語配有一個組織者,一個儀節主持,一個修辭學家:對依格那修,這是一個退隱地的主持,對於傅立葉,這是某種主人或女主人,對於薩德,這是某個放蕩者,他除了一種臨時的、完全實際的責任外沒有任何地位,卻創造了姿態和指導著此色情運作的一般進路;永遠有某個人對於運作、演出、狂歡進行調節〔 régler〕(但不是管理〔réglementer〕),而這個人不是一個主人;片段的製作者只是暫時的存在,他只是一個語法支配中的語素,一個語句的運作者。同樣的,我們的三位作者所要求的儀節,只是一種計劃的形式:這對於快樂、幸福、神聖對話來說是必要的秩序(正如任何文本形式永遠只是管理快樂的規矩一樣);但是,這種機制是不適當的,它始終是“過度的”,它只是說無條件的損失不是未被檢查的損失:損失正應該被秩序化,以便它能夠成為無條件的:最後的空缺就是對一切隱蔽機制的否定,它本身只通過一種機制來獲得:薩德的陶醉,傅立葉的歡悅,依格那修的輕忽,都沒有超出構成著它們的語言:一種唯物質主義儀式除了其自身以外不是什麼也沒有嗎?
如果拜占庭語言〔logothesis〕只是建立一種儀式,簡言之,即建立一種修辭學,語言的奠定者就只是一個系統的作者(通常這將被稱作一個哲學家,一個學者或一個思想家) 。10薩德,傅立葉,羅猶拉則屬於另一種情況:配方者〔formulateurs〕(通常稱作作家)。實際上,為了徹底奠定一種新語言,需要第四種運作,即戲劇化運作。什麼是戲劇化呢?不是對再現作用進行裝飾,而是使語言無限擴充其潛能。雖然,按其歷史的立場,所有三者都介入了一種再現作用和記號的意識形態,然而我們的拜占庭語言所產生者已經完全是文本性質的了;也就是,對於風格的平庸性而言(正如在“大”作家那裡看到的那種平庸性),他們懂得如何替換寫作的volume。風格假定著和實踐著實質〔fond〕和形式之間的對立;它是一種基礎結構的三合版;寫作達到這樣一點,在此它產生了一種諸能指構成的梯陣〔échelonnement〕 ,其中不再能夠發現任何語言實質〔fond de langage〕;因為它被看作是一種“形式”,風格蘊涵著一種“一致性”;寫作,讓我們用拉康的術語說,只辨識“堅持”〔insistances〕。而這就是我們的三位分類家所作的:不論他們的風格如何被評價,好,壞,不好不壞,都無關緊要:在此進行衡量和提升的運作中,他們不停地堅持著;隨著風格吸收進寫作之內,系統松解為系統的因素,小說松解為小說的因素,祈禱松解為幻想的因素:薩德不再是一位色情狂,傅立葉不再是一位烏托邦者,羅猶拉不再是一位聖者:他們每人身上剩下的只是一位舞台設計者身份:後者分散於其不斷搭建和安置的舞台撐架內。
沒有什麼比把“文本”想像為一種思想的對象(供反思、分析、比較、反映等等的對象)更令人沮喪的了。“文本”是一種快樂的對象。“文本”的歡娛往往只是風格性的:存在著一種表達的幸福,薩德和傅立葉對此都不欠缺。然而有時“文本”的快樂一某種最深刻的方式被獲得了(而此時人們可以真地說存在有“文本”):當“文學的”文本(“書籍”)轉換為我們的生命時,當某種其他的寫作(他者的寫作)成功地寫出了我們自己日常生活的片段時,簡言之,當一種共同存在產生時。“文本”快樂的標誌於是就成為:當我們能夠和傅立葉、和薩德生活在一起的時候。和一位作家生活在一起,並不一定意味著在我們的生活中完成該作家的書內留存的計劃(然而這個情境並非是不重要的,因為它構成了唐吉坷德的觀點;確實,唐吉坷德仍然是一本書的角色);問題不是使被再現者運作,不是成為薩德式人物或和薩德一起狂歡,和傅立葉一起參加共同生活體,與羅猶拉一起禱告;問題是將此來自所喜愛的(被喜愛,正因為它分散良好)文本中的12不可理喻的片段(“格式”〔formules〕)傳入我們的日常生活;問題在於說的是這個文本,而不是使其動作,使其可有一個引語的距離,一種語言真理的、一個被鑄造字詞的迸發力;於是我們的日常生活本身變成了一個劇場,其場景就是我們的社會生息地;和薩德生活在一起,有時就是說薩德式語言,和傅立葉生活在一起,就是說傅立葉式的語言(和羅猶拉生活在一起呢?為什麼不呢?再一次說,問題不是將內容、信念、信仰、事業,甚至於也不是將形象轉輸入我們的內心;問題是從其文本中接 ​​受一種幻想式的秩序:和羅猶拉一起欣賞組織一次隱退的快樂,使我們的內在時間與其相合的快樂,在其內分配語言的因素的快樂:寫作的歡 ​​樂幾乎受到依格那修再現作用之嚴肅性的壓抑)。
 “文本”的快樂也包含著作者的一次友善的返回。當然,返回的作者不是我們的製度(文學、哲學、教會話語中的歷史和說教)所認同者;他甚至於不是一部傳記的主人公。來自其文本和進入我們生活的作者並不具有同一性;他只是一個諸“魅力”之集合,某些微小細節的位置,但卻是某些生動的小說光芒的源泉,一首不連續的友善詩篇,然而在其中我們卻比在一部命運史詩中更肯定地讀到了死亡;他不是一個(公民的、道德的)個人,他 ​​是一個軀體。在與“文本”快樂產生的價值完全脫離後,我從薩德的生活中得到的就不是一個因其激情而被整個社會壓制的個人的場景,不管這個場景多麼壯觀,它也不是對一種命運的嚴肅沉思,而特別是其普洛旺斯的表達方式:例如,薩德稱呼魯塞小姐為milli〔小姐〕的方式,他也這樣稱呼亨麗埃特小姐,萊皮柰小姐;再例如他與羅斯•凱勒攀談時使用的手籠,他與小成衣商沙龍東最後的幾次牌戲(在此女成衣商的例子中,使我入迷的是內衣)。我從傅立葉的生活中得到的是他對一種放入香精的巴黎小甜餅的嗜好,他對女同性戀者的遲來的同情,以及他在花盆中間的死亡。13我從羅猶拉生活中得到的,不是這位聖徒的朝聖之旅,不是他的幻相、苦修和氣質,而只是他的“永遠略含淚水的美麗眼睛。”因為,按照一種不無辯證性扭曲的說法,如果作為一切主題(主體)摧毀者的“文本”含有一種可愛的主體的話,該主體也是被分散的,有些像人死後我們撒向鳳中的灰燼(骨灰罐和墓碑的主題,作為堅硬密封的物件,命運的導師,將與記憶的突現對立,歲月磨蝕只留下已逝生命中的幾道痕跡):如果我是作家,死了,我將會非常高興,如果我的生活,被某位友善而公正的傳記家分解為一些細節,一些偏好,一些變化,我們說,劃歸為:“傳記素”〔biographèmes〕,其區別和變動性可能超越任何命運並像伊壁鳩魯的原子一樣觸及某個未來的身體,後者註定了同樣要消散:一種被標記的生命,總之,如普魯斯特在其作品中成功地寫出的他自己的生命,或者甚至是一部老式電影,其中沒有對白,而它的影像流(這個“言語流”〔flumen orationis〕,其中也許含有寫作的“淫穢”〔cochonnerie〕)被字幕內幾乎無字的黑色以舒緩的方式所截斷,後者相當於另一種能指的隨意迸發:薩德白色的手籠,傅立葉的花盆,依格那修的西班牙眼睛。
布萊希特說過,“只有厭倦生命的人才需要虛幻”。一種讀解的快樂保證著其真實。閱讀文本,而不是閱讀作品,在文本上實行一種洞識,它不是朝向其奧秘、其“內容”、其哲學,而只是朝向其寫作的幸福。我能夠期望使薩德、傅立葉、羅猶拉從他們的許諾(宗教,烏托邦,淫虐狂)中解脫出來;我企圖稀釋或避開人們加予他們每一個人身上的道德話語;他們所做的,只不過是語言書寫,我使其文本脫離開其所宣告的目的:社會主義,信仰,惡。由此我甚至於必須(至少本研究的理論意圖在此)使文本的社會責任性轉移(但不是將其壓制;或許甚至於是將其突出)。有些人相信他們能夠相當有把握地確定這種責任性的位置所在14:例如說,作者,將作者插入他的時代、他的歷史、他的階級。但是另外一個位置仍然成迷,暫時不能提供任何說明:讀解的位置。此一晦暗不明發生於資產階級意識形態被嚴厲斥責之時,卻未被詢問對其談論或反對的位置何在:它是一種“非話語”〔non-discours〕位置(“我們不說,我們不寫:我們進行戰鬥”)嗎?它是一種“反話語”〔contre-discours〕(我們發出反階級文化的話語)的位置而卻又不知道其特徵、人物、理由、文化剩餘物何在?如此行動,似乎一種純白話語可以用來反對意識形態,這就相當於繼續相信語言只不過是一種優勝者內容的中性工具。實際上,今日在資產階級意識形態之外不存在語言的位置:我們的語言從此意識形態中產生,返回到其中去,並始終封閉於其內。唯一可能的反擊既不是對峙也不是摧毀,而只是偷竊:分隔文化、科學、文學的舊文本,並通過變裝方式來散播其各種組成特點,就像是對偷來的貨物進行偽裝時所作的那樣。因此,在面對著這些舊文本時,我企圖抹消在決定作用、幻覺、投射中存在的那種社會學的、歷史的、或主觀的虛假繁榮;我傾聽著信息中的激情,而不是傾聽著信息內容,我在此三重作品中看到能指性的、恐怖性的文本的決定性展開,像是一張舊皮一樣,使其與所接受的意義、被壓制的(自由的)話語脫離,此話語不斷地想將其恢復。一個文本的社會幹與作用(並不一定在文本出現時完成),既不是由其在讀者處受歡迎的程度來衡量的,也不是由其中所包含的或投射向某些熱情的社會學家的那種經濟社會思想的正確性來衡量的,而寧肯說是由其能夠超越法則的激烈性來衡量的,這些法則是由一個社會、一種意識形態、一種哲學為它們自己所建立的,目的是為了在一種歷史的理智精神運動中彼此達成一致。此超越性的名字就是:寫作。 1971年6月    (李幼蒸譯)

HC評: 李幼蒸的這篇譯文的一關鍵字眼"拜占庭語言〔logothesis〕"可以討論: 翻譯者可能是去查LOGOTHETE 等字而翻譯 殊不知Barthes 可能只是用"logo+thesis"的意思而已--它只表達是非系統的作家而已