言與不言之間：程抱一法譯唐詩中的言外之「譯」;Entre dire et ne pas dire : une poétique du non-dit dans les traductions de poésie Tang par François Cheng

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Title:	言與不言之間：程抱一法譯唐詩中的言外之「譯」;Entre dire et ne pas dire : une poétique du non-dit dans les traductions de poésie Tang par François Cheng
Authors:	黃郁涵;HUANG, Yu-Han
Contributors:	法國語文學系
Keywords:	唐詩翻譯;唐詩法譯;程抱一;未言;Chinese-French literary exchange;poetic translation;François Cheng;non-dit
Date:	2025-07-23
Issue Date:	2025-10-17 11:51:26 (UTC+8)
Publisher:	國立中央大學
Abstract:	唐詩是中國古典文學的重要象徵，其藝術成就與文化深度不僅在中國歷代文人心中佔有崇高地位，也成為中外文化交流的重要橋樑。自18世紀起，唐詩陸續傳入法國，開始了一場橫跨語言與文化的翻譯歷程。每一世紀的譯者在不同時代背景下，對唐詩的理解與詮釋方式亦各不相同：18世紀的傳教士主要著眼於知識的傳播，透過唐詩介紹中國文化與思想；19世紀的譯者則傾向於文學性再創作，強調異國情調與審美想像，常將唐詩作為重塑東方意象的素材；而進入20世紀後，隨著中法學術交流的深化與漢學研究的專業化，更多具有語言與文化雙重背景的譯者投入其中，翻譯取向也逐漸轉向詩意與形式的保留，並強調中詩法譯中的節奏感與內涵。在此脈絡下，程抱一（François Cheng）以其獨特的文化背景與創作理念，於20世紀後期在法語世界中開闢出一條與眾不同的唐詩翻譯路徑。他生於中國，成年後定居法國，之後歸化為法國籍。正是因為經歷過流亡與文化融合的生命歷程，所以使他對詩意的理解具有深刻的中法雙重文化色彩，這也是其譯作被視為中法文學對話中的關鍵成果之因。本研究以程抱一的作品《中國詩語言研究》（L’Écriture poétique chinoise）裡的唐詩翻譯為分析核心，觀察並歸納其譯詩風格，進而提出「non-dit（未言）」作為理解其翻譯風格的重要概念。「未言」一詞並不是程氏親自命名的理論，而是經由本研究對其譯詩語言操作的歸納與比較，所歸納出的核心策略。程氏在翻譯唐詩時，避免過度解釋與文化註腳，反而透過語法與標點的謹慎運用，例如動詞的刪減、主詞的省略、標點的選擇，營造出開放、含蓄且富有張力的閱讀空間，使讀者能自由體會詩中的情感與意境。本論文共分為三章：第一章從歷史與比較的角度出發，回顧十八至二十世紀，法語世界中唐詩翻譯的主要傾向與代表譯者，並與程抱一的翻譯策略進行對照；第二章探討程氏「未言」美學的形成背景，從他的雙重文化認同、流亡經驗與道家思想等面向切入，並分析他對自然詩與邊疆詩的偏好如何與語言留白策略互相呼應；第三章則聚焦於文本分析，具體呈現「non-dit」在翻譯實踐中的展現方式。「未言」不只是語言的省略，而是一種讓讀者得以進入詩意空間的翻譯方式，也是一種「言外之譯」，讓原詩未明言的意境，於譯文中繼續發酵。程抱一的譯詩，不僅是對原文的再現，更是在中法文化之間展開的一場深層對話。透過「未言」的策略，他讓詩的含蓄、留白與餘韻得以在譯文中延續與重生。本研究希望指出，「未言」並不代表語言的缺席，而是一種詩性與文化共鳴的表達形式，也為當代詩歌翻譯提供了另一種可能的路徑與思考方式。;Tang poetry is an important symbol of Chinese classical literature. Its artistic achievements and cultural depth not only hold a high position in the minds of literati throughout Chinese history, but also serve as a key bridge for cultural exchange between China and the world. Since the 18th century, Tang poetry has been gradually introduced into France, beginning a translation journey across languages and cultures. In different historical contexts, translators in each century have had different understandings and interpretations of Tang poetry: 18th-century missionaries mainly focused on the transmission of knowledge, introducing Chinese culture and thought through Tang poetry; 19th-century translators tended toward literary recreation, emphasizing exoticism and aesthetic imagination, often using Tang poetry as material for reshaping Eastern imagery; and after entering the 20th century, with the deepening of Sino-French academic exchange and the professionalization of Sinology, more translators with bilingual and bicultural backgrounds participated, and the direction of translation gradually shifted toward preserving poetic meaning and form, emphasizing rhythm and philosophical content in Chinese-to-French translation of poetry. In this context, François Cheng, with his unique cultural background and creative vision, opened a distinctive path for the translation of Tang poetry into French in the late 20th century. He was born in China, settled in France in adulthood, and later became a naturalized French citizen. It was precisely because of his life experience of exile and cultural fusion that his understanding of poetic meaning carries a profound dual Sino-French cultural perspective. This is also why his translations are seen as key achievements in the literary dialogue between China and France. This study centers on François Cheng’s L’Écriture poétique chinoise as its primary text of analysis non-dit (the unspoken) as an important key to understanding his translation aesthetics. The term “non-dit” is not a theoretical term coined by Cheng himself, but a core strategy deduced from this study through observation and comparison of his language practices in translation. In translating Tang poetry, Cheng avoids over-explanation and cultural footnotes, and instead carefully uses grammar and punctuation—such as the reduction of verbs, the omission of subjects, and the selection of punctuation—to create an open, implicit, and tension-filled reading space, allowing readers to freely experience the emotions and imagery within the poem. This thesis is divided into three main chapters: Chapter One starts from a historical and comparative perspective, reviewing the main tendencies and representative translators of Tang poetry in the French-speaking world from the 18th to the 20th century, and contrasts them with François Cheng’s translation strategies; Chapter Two explores the background of Cheng’s non-dit aesthetics, focusing on his dual cultural identity, experience of exile, and the influence of Taoist thought, and analyzes how his preference for nature and frontier poems aligns with his strategy of linguistic openness; Chapter Three focuses on textual analysis, concretely presenting how non-dit is manifested in his translation practice. Non-dit is not merely the omission of language, but a translation approach that allows readers to enter a poetic space. It is also an aesthetic choice. François Cheng’s translations are not simply reproductions of the original texts, but a deep dialogue between Chinese and French cultures. Through the strategy of non-dit, he allows the implicitness, openness, and lingering charm of the poems to be continued and reborn in translation. This study not only deepens our understanding of François Cheng’s translational poetics but also opens up new possibilities for future comparative studies on poetic translation between Eastern and Western literary traditions.
Appears in Collections:	[Graduate Institute of French Language and Literature] Electronic Thesis & Dissertation

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