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 | Translate: 翻譯：               How not to do a PhD on George Orwell如何不這樣做博士學位的喬治奧威爾 Thursday, November 6th, 2008 星期四， 2008年11月6號 By通過 Horatio Morpurgo霍雷肖莫爾普戈 | Any English-speaker to whom Vaclav Havel has mattered owes a debt they’re probably unaware of to Paul Wilson. |任何英文發言的人哈韋爾了重要欠下的債務，他們很可能不知道保羅威爾遜。 His work as the Czech writer’s translator began thirty years ago but I discover, over a cup of coffee off Russell Square, that he first came to London from his native Canada ten years before that, to do a PhD on George Orwell.他的工作捷克作家的翻譯始於30年前，但我發現，在喝一杯咖啡了羅素廣場，他第一次來到倫敦，他的加拿大十幾年前，做博士學位的喬治奧威爾。 He’s dapper, friendly, the blonde hair mostly silver now.他短小精悍，友好的金發現在大多銀牌。 But as we talk the subject of those earlier studies recurs time after time.不過，正如我們談論的主題是早期研究後復發的時間。 As a post-graduate in London in the mid-sixties Wilson happened on a season of the new Czech cinema and felt attracted to its atmosphere.作為一個畢業後在倫敦60年代中期發生的威爾遜本賽季新的捷克電影，並認為其吸引到大氣中。 The PhD was left uncompleted: Orwell’s clairvoyance about Stalinism was already then proverbial – and already then controversial for many on the left – but clairvoyant is just what it was: except for very briefly in Barcelona, he had no direct experience of it.博士是左樓：奧威爾的千里眼約斯大林已經然後諺語-然後已經為許多爭議的左側-但千里眼正是它是：除了非常簡單在巴塞羅那，他沒有直接經驗的。 It was in search of such experience that a younger, foot-loose Wilson travelled on to Czechoslovakia in 1967, where he taught English, learnt Czech and sang in a rock-band until being forcibly expelled in 1977.這是尋找這種經驗，一個年輕，腳寬鬆威爾遜前往捷克斯洛伐克於1967年，他在那裡教英語，學到捷克和唱的石頭帶，直到被強行驅逐於1977年。 Those were the days.這些都是天。 It was in Prague, not London, that he found writers and artists who seemed to be taking up where Orwell had left off.這是在布拉格，而不是倫敦，他認為作家和藝術家誰似乎是在考慮了奧威爾已經離開了。 For the Czechs at that time, he explains, Orwell, ‘especially in 1984, was too pessimistic about the future of humankind… he under-estimated the natural ability of people to dig under Newspeak and create their own living language.’對於捷克在那個時候，他解釋說，奧威爾，特別是在1984年，太悲觀人類的未來...他低估了自然的能力的人挖下的官方新聞和創造自己的生活語言。 The fluent Czech speaker who landed back in Canada was soon translating Vaclav Havel’s justly famous essay on this theme, The Power of the Powerless.捷克的一口流利的發言誰降落在加拿大回來不久翻譯哈韋爾的公正有名的一篇關於這一主題，該國的無能為力。 It’s an exploration of the ways in which people do in fact, both spiritually and practically, resist dictatorship – and it’s an eloquent rejoinder to Orwell’s fatalism.這是一個探索如何在人民實際上，無論在精神上和實際上，抵制獨裁統治-這是一個雄辯的回答到奧威爾的宿命論。 Wilson’s own search for a ‘living language’ was by now well underway.威爾遜自己尋找生活的語言'是現在正在順利進行。 The fiction by Bohumil Hrabal and Josef Škvorecky to which he also turned his hand, ‘represented the political reality that people were living without being explicit about it.’ It was their very lightness of touch which made them so threatening to a regime hampered by its own humourlessness.該小說由博胡赫拉巴爾和約瑟夫Škvorecky而他也把他的手，代表了政治現實，人民生活沒有得到明確的。 '這是他們非常輕鬆的觸摸這使得他們這樣威脅制度阻礙了其自己humourlessness 。 Then was then, of course.然後，然後，當然。 For those who control our contemporary mediascape, humourlessness is not so much a symptom of existential malaise – it’s just the ultimate PR howler.對於那些誰控制我們的當代mediascape ， humourlessness與其說是一個症狀存在的弊病-它只是最終的公關號哭。 ‘It’s harder to get around PR speak,’ as Wilson puts it, ‘because it’sa cleverer form of manipulation.’ But his work with the kind of language which opposes it, however undemonstratively, has continued. '這是很難繞過公關發言，作為威爾遜所說的那樣， ' ，因為這是聰明形式的操縱。 '但他的工作，什麼樣的語言來反對，但是undemonstratively仍在繼續。 What had taken him to London and then on to Prague continued back in his native Canada: he edited literary magazines and got by as a freelancer for CBC and others.採取了什麼他到倫敦，然後就到布拉格繼續回到祖國加拿大：他編輯的文學雜誌，並得到了作為一個自由的加拿大和其他人。 Such is the direction many in search of a living language end up taking – and that search is as troubled now as it ever has been.這是許多的方向，尋找生活的語言最終考慮-這是搜索不安，因為它現在都已經。 In the anglosphere Orwell’s reputation, that barometer of political unease, has undergone a dramatic revival over the past decade.在anglosphere奧威爾的聲譽，這晴雨表的政治不安，經歷了一個戲劇性的復興在過去十年。 It’s English- not Czech-speakers these days who are anxiously holding up his dystopia alongside their own reality, for comparison.它的英文，而不是捷克這些天的發言者是誰焦急地舉行了異位並肩自己的實際出發，進行比較。 It is in Whitehall, after all, not Hradčany, that a man can now be arrested when he holds up a placard reading ‘In a time of universal deceit, telling the truth is a revolutionary act.’ For thus quoting Orwell in too close proximity to Number 10 Downing Street, Steven Jago was charged under the Serious Organised Crime and Police Act, passed by the present government.正是在白廳，畢竟不是Hradčany ，一名男子現在可以被拘捕時，他擔任了一個標語牌，讀'在一個時間普遍欺騙，講真話是一種革命性的行為。因此，對於引用奧威爾過於接近以數唐寧街10號，史蒂芬賈戈被指控的嚴重有組織犯罪和警察法，通過了本屆政府。 ‘With the hindsight offered by history,’ as Drew Westen recently put it, ‘it’s fair to say that Orwell got the title of his book wrong by two decades.隨著事後所提供的歷史，作為西部德魯最近所說的那樣， '這是公平地說，奧威爾的標題了他的書錯誤的二十年。 His seminal novel should have been called 2004.’ It’s not so much ‘that Big brother rules,’ another American, Martin Kaplan, has suggested, ‘but rather that entertainment reigns.’他開創性的小說應該被稱為2004年。 '這不是這麼多'是大哥的規則，另一名美國，馬丁卡普蘭，建議，而是娛樂普遍存在。 You might think there would be little patience with such talk in today’s Central and Eastern Europe, most of which was quick to sign up to Bush’s ‘Coalition of the Willing’.你可能會認為會有一點耐心與這種言論在今天的中歐和東歐，其中大部分快速註冊布什的'自願聯盟' 。 Wilson can confirm: ‘OK, the bloom is off the rose as far as market capitalism goes in the Czech Republic, but I don’t think they quite understand the extent to which this PR speak and the Big Lie approach to politics have really taken over… The wars in 1984 have no other purpose than to keep people in a state of perpetual fear – the politics of fear may not be central to Orwell’s thinking but they’re certainly central to the way Bush has governed.’威爾遜可以證實： '好吧，關閉盛開的玫瑰盡可能市場資本主義不用在捷克共和國，但我不認為他們明白這在多大程度上公關發言和彌天大謊，以政治方式真正實現了以上...在1984年戰爭中沒有任何其他目的，而不是使人們的狀態永久的恐懼-政治的恐懼可能不是奧威爾的核心思想，但他們肯定中央的方式布什管轄。 The new play which Wilson is in London for, however, Havel’s first for twenty years, points to a new awareness of how badly let down ‘New Europe’ has been by its complacency about today’s PR speak.新的發揮而威爾遜在倫敦，但是，哈韋爾首次對20年來，點到一個新的認識有多嚴重放下'新歐洲'已在其自滿今天的公關發言。 Mafia capitalists have taken over the post-Communist state where the action is set.黑手黨資本家接管後共產主義國家的行動是一套。 The country’s vain, bombastic former President continues to treat his family and the occasional reporter to speeches about ‘putting the individual at the centre of politics.’ One by one the other characters repeat this phrase back at him, out and out gangsters included, until the message is clear: the promise to ‘put the individual at the centre of politics’ means in effect whatever suits the individual who is making the promise.該國的徒勞的，嘐前總統繼續把他的家人和偶爾的記者發表講話關於'把個人為中心的政治。一個接一個的其他字符重複這句話在他回來，並列入了黑幫之前，信息是明確的：在承諾'把個人為中心的政治'是指無論在效果適合個人誰是決策的諾言。 For Wilson, ‘it’sa play about people who use the institutions and language of democracy to establish if not absolute then a very authoritarian kind of power.’肝豆狀核變性，這是發揮人們誰使用的機構和語言建立民主，如果不是絕對的然後一個非常獨裁的一種力量。 It’sa play, then, about concerns many in the English-speaking world now share, but none of the London reviews picked up on this.這是一個比賽，然後，擔憂中的許多人講英語的世界現在的份額，但在倫敦審查挑選了這一點。 Wilson: ‘In the London production the former president is played as a bit of a buffoon, but he doesn’t have to be.威爾遜： '在倫敦生產的前總統是發揮作為一個有點滑稽，但他不一定必須。 In the Czech production his capitulation to the new order played more on an element of the sinister.’ More specifically it heralds the return of a surveillance society.在捷克生產的投降新秩序發揮更多的一個組成部分險惡。具體地說它預示著返回的監視社會。 That nothing was made of this in the very country, Britain, where state surveillance is now the most intrusive in Europe, is itself noteworthy.沒有什麼事情是作出了這方面的非常的國家，英國，狀態監測是目前最侵入歐洲，本身是值得注意的。 Havel’s hero-status suits us just fine: it permits us to admire without listening.哈韋爾的英雄地位適合我們只是罰款：它使我們能夠欣賞不聽。 Or perhaps, as some reviewers suggested, the very medium of theatre for messages like this is now something of a throw-back.或者，正如一些審評建議，非常戲劇中的郵件，這是現在有點擲回。 The translator’s art in particular, with all that meticulous verbal stitching and unstitching, might seem perhaps at best unglamorous, at worst downright quaint.翻譯的藝術尤其是與所有細緻的口頭縫紉和unstitching ，似乎也許最好的27國外長非正式會議，在最壞的徹頭徹尾的古雅。 Ill-suited to the present, anyway: just who in their right minds is banking on prose style or snappy dialogue in a world like this?不適合本，反正：到底誰在他們有權頭腦是銀行的散文風格或瞬間對話的世界中，這樣呢？ Actually all kinds of people are.其實各種人。 Our ‘language of democracy’, or modern PR speak, is often written much more carefully the Newspeak Orwell satirised.我們的語言民主' ，或現代公關說話，常常是寫更仔細官方新聞奧威爾satirised 。 As Wilson himself says, as a form of manipulation it is far cleverer than its predecessors.正如威爾遜本人說，是一種形式的操縱它是聰明遠遠比其前身。 But translating from ‘obscure’ languages, reporting on far-away countries of which we know very little, editing small magazines – the kind of culture Wilson has devoted himself to suggests something we tend to overlook perhaps.但是，把從'模糊'的語言，匯報遙遠的國家，我們所知甚少，小雜誌編輯-什麼樣的文化，威爾遜已經投身表明，我們往往忽略或許。 That one way round PR speak might be via the right kind of attachment to something we already know.這一輪的一種方式公關發言可能是通過正確的依戀的東西我們已經知道。 We do ourselves a disservice when we overplay the impact of PR on human nature.我們自己幫倒忙當我們表演過火的影響，對人類公關性質的。 Novelists and playwrights have after all understood, for centuries and millennia respectively, what advertisers and political advisers have only in the last few decades fully grasped: it’s stories that people listen to.小說家和劇作家都了解後，所有的世紀和千年分別是廣告和政治顧問，只有在過去的幾十年裡充分把握：它的故事，人們聽。 Money which wants to talk has learnt to bear that in mind.錢想談獲悉，以銘記這一點。 Writers as distinct from advertisers, however, have continued to insist on an idea the PR professionals long ago discarded: that severed from its roots in the truth, no story can flourish for long.作家有別於廣告，但是，繼續堅持一個想法的公關專業人士早已廢棄：即斷絕其根源在於真理，沒有故事能夠蓬勃發展的長久。 The PR industry was built up on a very different premise: uncouple your story from any corresponding reality, it says, then repeat it often enough, flavour it with pleasurable associations, and people will go on listening.公關業是建立在一個非常不同的前提：非耦合你的故事從任何相應的現實，它說，然後重複它往往不夠，香味與愉悅協會，和人民將繼續聆聽。 Even if they scoff outwardly, just enough inside each member of your audience will go on listening to make the continual repetitions worthwhile.即使他們表面上嗤之以鼻，僅內每一個成員的您的觀眾將繼續傾聽，使不斷重複是值得的。 To that extent the mixture of trivia, crisis porn and political advertising which now passes for ‘news’ presents us with an authentically new problem, but is the vigilance it requires of us so unprecedented?在此範圍內的混合瑣事，危機色情和政治的廣告現在通行證'新聞'為我們提供了真正的新問題，但它的警覺，我們需要這樣前所未有的？ The skills cultivated by good writers are essentially those by which we keep the stories we tell responsive to what is actually happening around us.技能培育的好作家基本上是這些，使我們保持我們的故事告訴回應什麼是實際發生在我們周圍。 Wilson quotes the motto from Orwell at the top of a well known blogsite which he follows and which has set out to track each lie told during the US Presidential campaign.威爾遜引號的座右銘從奧威爾上方的一個眾所周知的博客，他如下，並已開始跟踪每個撒謊說在美國總統競選。 That’sa tall order but the motto runs ‘To see what is in front of your nose needs a constant struggle.’ It was as a novelist himself that Orwell once said that he had wanted above all ‘to make political writing into an art’.這是一個艱鉅的任務，但運行的座右銘'要看看前面是你的鼻子需要不斷的鬥爭。 '這是作為一個小說家奧威爾本人曾經說過，他希望上述所有的' ，使政治寫作成為一種藝術' 。 Far from some retreat into subjectivism he meant it should be held to the most exacting standards there are.遠東一些主觀退回到他的意思應該舉行最嚴格的標準有。 The ghost of that unfinished PhD hovers over our discussion.鬼魂的未完成的博士徘徊在我們的討論。 It is by operating within a verbal and narrative syntax which may not seem at all outwardly ‘original’ that genuine writing achieves its originality now.它是由內運作的口頭和敘事語法可能似乎不是在所有表面上'原始' ，真正實現其書面現在獨創性。 ‘When I was at school we were given these exercises where there was a sentence with a mistake in it which you had to find and correct,’ Wilson fondly recalls, ‘or there was a bad sentence and you had to turn it into a good one, or a weak sentence, say, and you had to turn it into a strong one.’ '當我在學校，我們給予這些演習那裡是一句錯誤中你必須找到正確的，威爾遜深情地回憶說， '或有一個壞一句，你已經把它變成一個很好的一，或弱一句，說，你已經把它變成一個強壯的人。 The inconspicuous labour of reading, understanding and then transposing a literary text from one language into another is surely as radical a challenge to the present mediascape as any.勞動的不顯眼的閱讀，理解，然後轉文學文本從一個語言到另一個肯定是激進的挑戰，本mediascape任何。 Because to translate well is never to translate merely from one language into another, but from one sensibility and history into another.由於翻譯以及永遠不會把僅僅是從一種語言到另一種，而是從一個感性和歷史到另一國。 To translate well is to believe in the kind of language which grows from an author’s clear-sighted, patiently integrated vision up, even if there is more and more language which grows from some well funded plausible deception down.為了把好相信什麼樣的語言，也來自作者的清晰，耐心一體化的構想了，即使有越來越多的語言，增加一些資金充足合理的欺騙了。 Done properly, the creating and translation of such work cannot but mitigate against the sound-bite and the slogan, against everything slick and misleading.處理得當，創造和翻譯等工作不能減輕，但對健全咬和口號，反對一切帶和誤導的。 Dvorak in Love, the superb novel by Josef Škvorecky, to take one example, had to be re-organised in its entirety because its narrative structure in Czech assumed an outline familiarity with the composer’s life, and with the emigrant experience of Czechs in North America.德沃夏克的愛情，華麗的小說約瑟夫Škvorecky ，採取一個例子，不得不重新編排的全部，因為它的敘事結構在捷克承擔大綱熟悉的作曲家的生活，並與移民經驗，在捷克北美洲。 This could not be assumed for an English-speaking audience.這不能假定為講英語的觀眾。 Wilson and Škvorecky collaborated and a new work emerged.威爾遜和Škvorecky合作和新的工作出現。 To translate is often to act effectively as an editor too, which can require the skills of a diplomat as much as those of a linguist.翻譯往往是採取有效的編輯也可以需要的技能，作為一名外交官多的語言學家。 ‘There’s this huge suspicion of editors in what was Czechoslovakia, because of the history of censorship – so you can talk even now to young writers who will say ‘Do not touch my work – I want it exactly the way it is.’ Even Havel can be like that.’ '有懷疑這個龐大的編輯，這是捷克斯洛伐克，由於歷史的封殺-這樣您就可以通話即使是現在的年輕作家誰會說： '不要碰我的工作-我想這正是它的方式。即使哈韋爾可以這樣的。 This version of culture, then, starts from a personal engagement with a particular vision and a particular place.這個版本的文化，那麼，從個人的接觸與特定的遠見和某一特定地點。 It can only work as a collaborative venture.它只能作為一個協作企業。 ‘A life that is not dedicated to that which gives it meaning is not worth living,’ the philosopher Jan Patočka once wrote – the quote is as rendered into English by Wilson, as quoted in a prison letter of Havel’s. '生活，不是致力於那些賦予它的含義是不值得的生活， '哲學家揚Patočka曾經寫道-報價是使成英文的威爾遜，引自一所監獄的信哈維爾的。 In our ratings-driven world such sentiments might seem a risky strategy but they have always been a risky strategy: Patočka himself died ‘whilst in Police custody’ in 1977.在我們的收視率驅動的世界這種情緒似乎一個冒險的策略，但他們始終是一個冒險的策略： Patočka本人死亡，而在警方拘留，於1977年。 Western societies have since perfected more entertaining ways to call off the search for a living language.西方社會已經完善更具娛樂性的方式取消尋找生活的語言。 That the search for it continues is not only the achievement of the Orwells and the Havels – though they tend to get most of the credit. ，尋找它仍然不僅是實現Orwells和Havels -儘管他們往往能得到大部分的信貸。 It is decisively down to the Paul Wilsons too.這是果斷到保羅威爾遜太多。 And if the present cycle of perpetual war abroad justifying ever more controls at home, is going to be broken, ‘old-fashioned’ literary culture like this could come in useful.如果本週期的永久海外戰爭的理由更控制在家裡，會被打破，老式的'文學文化這樣可能會有益的。 Its long experience of how to phrase the awkward questions is still worth listening to.長期的經驗如何詞組的尷尬問題，仍然是值得一聽。 Have Your Say: How not to do a PhD on George Orwell 你說：怎麼不這樣做博士學位的喬治奧威爾 Please read our請仔細閱讀我們的 posting guidelines before posting張貼在發布前的指導方針 . 。 Alternatively或者 you can discuss this report here你可以討論這份報告在這裡 . 。 Related News 相關新聞
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