世界汉学中心现为“重勘百部‘一带一路’汉学经典”项目书籍Selected Studies of pinghua and cihua By Vibeke Børdahl（《评话和词话——易德波论文选》）寻求中文译者。

书籍名称：Selected Studies of pinghua and cihua By Vibeke Børdahl （《评话和词话——易德波论文选》）

作者：Vibeke Børdahl （易德波）

书籍简介：本书是易德波教授近20年来有关扬州评话和《金瓶梅》研究的成果。

作者介绍：易德波（Vibeke Børdahl）博士，现为哥本哈根大学北欧亚洲研究所（NIAS）高级研究员。专攻中国语言文学、方言学、口头表演文化，先后在北欧的奥胡斯大学、奥斯陆大学和哥本哈根大学任教。她最近关于中国说书传统的英文书籍研究包括：《武松打虎——中国小说、戏曲和说书中的口头和书面传统的相互影响》（NIAS出版社，2013年），以及与葛亮和王亚龙合编的《西汉：扬州评话艺人的脚本》（NIAS出版社，2017年）。她还在www.shuoshu.org上发布了“中国说书研究数据库”。她的主要作品目前也以中文出版。易德波博士最近刚完成了她将《金瓶梅词话》（1617年）翻译成丹麦语的工作，全书共分十卷3000页。

语种：英译汉

字数：15.59万（英文）

要求：英译汉，汉语母语译者，熟悉中国口头文学、方言学、明代文学、语言学、音韵学，有翻译经验者优先。

样章翻译截止日期：2024年2月25日

注：申请时请将翻译文字及以往作品和个人简历发送至lijiajia@cctss.org，邮件标题格式“《评话和词话——易德波论文选》汉语翻译”，联系人：李佳佳。

翻译样章：

There are many categories of texts that can be subsumed under the idea of ‘script’. Sometimes certain Chinese terms for ‘script’ (huaben, jiaoben, diben) are translated into English as ‘prompt-book’, a term taken from Western drama, where a prompter sits below the stage in a so-called prompt-box whispering to the performers in case they forget their next line. A script - in the sense of a prompt-book used by a prompter (who is not a character in the play) during performance - is not used for traditional Chinese theatre, and it is unthinkable in the setting of Chinese storytelling. But traditional Chinese theatre did certainly have scripts of other kinds: Some were like the scenarios of Italian commedia dell’arte, rough outlines of plot, characters to enter and exit, and words for the important arias to be sung. The better part of the performance had to be improvised according to style and mannerisms learned during years of training since youth. Other kinds of drama scripts became literary genres, librettos and dramatexts, meant both for the actors’ preparation of performance, for the audience as a guide to understanding the drama during performance, and for reading[ Reading—not only of drama texts, but also many other kinds of oral-related texts—is an activity with a long history of development and with different practices under different social and cultural circumstances in China and elsewhere. Silent reading in solitude is only one form of reading, while reading aloud to oneself or to others has been a widespread habit. In the latter case, reading approaches performance, and recitation and exegesis/paraphrase are often combined.] outside the context of theatrical performance. The most developed form had not only poetry of arias, but also wordings of dialogue in prose more or less completely written out.

What about scripts for storytelling? From a historical perspective, the question is intimately connected with the rise of vernacular fiction in China since the Tang (618-907) and Song (960-1279) periods. It is generally acknowledged that the Chinese short story and novel written in vernacular Chinese, baihua 白話 (as opposed to literary or classical Chinese, wenyan 文言) developed in part from the professional art of storytelling, ‘telling tales’, shuohua 說話, that was widespread in the large cities of medieval China during Song. The earliest collections of short stories in vernacular written style, so-called ‘tale books’ or ‘prompt-books’, huaben 話本, date from the thirteenth century, while the earliest novel-like books, so-called folk books or ‘plain tales’, Pinghua 平話,are from the thirteenth-fourteenth century. The novel proper, ‘chapter divided fiction’, zhanghui xiaoshuo章回小說, has come down to us in editions beginning from the sixteenth century.