从李文俊译《喧哗与骚动》看风格的移译
发布时间：2019-03-08 13:20
【摘要】： 对风格和风格可译性的探讨始终是翻译界的讨论热点之一。本文对风格定义、可译性及翻译方法问题作了探讨，并由此对李文俊所译福克纳《喧哗与骚动》的中译本中风格的移译进行了评析，，指出保留原作风格应当是文学作品翻译的目标，译者可以借助风格的符号系统——风格标记翻译风格。本文希望通过理论阐述和译文分析对风格翻译实践与评析有所帮助。 风格的本质是作者独特的个性，它具体体现在作品的表达形式中。它虽然是可译的，但其可译性有限。一方面，因为语言都具有表感功能；作为风格载体的风格标记是有形的，可译的；文化交流减少了风格翻译的障碍；因此，风格是可译的。另一方面，由于语言符号间的不对应性，译者对风格的主观解读，文化差异等障碍，绝对的风格传译并不存在。 虽然风格看似虚无缥缈，但译者可以借助风格的有形符号——风格标记来翻译风格。风格标记不但可以提示原作风格特色，而且可以通过对应式换码或模仿式换码再现原作风格。本文把风格标记分为五类：语音标记、词法标记、句法标记、章法标记、修辞格标记。 福克纳《喧哗与骚动》的风格突出体现在意识流特色和延宕美学风格。小说运用时空顺序颠倒、断续表达法、重复和无标点句等方式打破逻辑和表达顺序，体现了意识流叙述混乱、无序的特点；此外，福克纳还采用所指意义模糊的代词、省略句、无说话人直接引语等手段，把信息隐去或模糊化，反映了潜意识的模糊性和叙述主观性。这些都是意识流浑沌、朦胧的特点。正是有了意识流的这些特点，小说对读者参与性要求更高，在挑战读者分析力的同时，给与读者理解后豁然开朗的阅读快乐。这就是接受美学中的延宕特色。 在多数情况下，李文俊注意到了这些风格标记，并灵活运用对应式换码或模仿式换码在译文中再现了这些风格标记，保留了原作的意识流及延宕风格。可见，虽然完美的风格移译无法实现，但译者仍应当关注风格标记，运用这一风格移译的有效手段力求保留原作风格。
[Abstract]:The discussion of style and style translatability has always been one of the hot topics in translation field. This paper discusses the definition of style, translatability and translation methods, and then comments on the translation of styles in Faulkner's Chinese version of Faulkner, which is translated by Li Wenjun. It is pointed out that preserving the original style should be the goal of literary translation. The translator can use the stylistic symbol system-stylistic marker translation style. This paper hopes to be helpful to the practice and analysis of stylistic translation through theoretical elaboration and translation analysis. The essence of style is the author's unique personality, which is embodied in the expression form of the works. Although it is translatable, its translatability is limited. On the one hand, because of the expressive function of language, the stylistic markers as a carrier of style are tangible and translatable; cultural communication reduces barriers to stylistic translation; therefore, stylistic is translatable. On the other hand, due to the non-correspondence between linguistic symbols, the translator's subjective interpretation of style, cultural differences and other obstacles, absolute style interpretation does not exist. Although the style seems to be illusory, the translator can translate the style with the help of the tangible symbol of the style-the style marker. The style tag can not only indicate the style of the original, but also reproduce the original style through the corresponding code-changing or imitating code-changing. In this paper, stylistic markers are divided into five categories: phonological markers, lexical markers, syntactic markers, chapter markers and figure of speech markers. Faulkner's style of "noise and Fury" is embodied in the characteristics of stream of consciousness and delayed aesthetic style. The novel breaks the logic and expression order by means of reversal of space-time order, intermittent expression, repetition and punctuation sentences, which embodies the chaotic and disordered narrative of stream of consciousness. In addition, Faulkner also used the pronouns of vague meaning, abbreviated sentences, and no direct speech of the speaker to hide or blur the information, which reflected the fuzziness of the subconscious and the subjectivity of narration. These are the chaotic, hazy features of the stream of consciousness. It is with these characteristics of stream of consciousness that the novel demands higher readers' participation. While challenging the reader's analytical power, the novel gives readers an open reading pleasure after giving them an understanding. This is the delayed feature of reception aesthetics. In most cases, Li Wenjun takes note of these stylistic markers, and flexibly reproduces these stylistic markers in the translation by using the corresponding code or imitating code, preserving the stream of consciousness and the delayed style of the original work. It can be seen that although the perfect style translation cannot be realized, the translator should still pay attention to the stylistic markers and try to retain the original style by the effective means of this style transfer.
【学位授予单位】：华东师范大学
【学位级别】：硕士
【学位授予年份】：2007
【分类号】：H315.9;I046
本文编号：2436844
[Abstract]:The discussion of style and style translatability has always been one of the hot topics in translation field. This paper discusses the definition of style, translatability and translation methods, and then comments on the translation of styles in Faulkner's Chinese version of Faulkner, which is translated by Li Wenjun. It is pointed out that preserving the original style should be the goal of literary translation. The translator can use the stylistic symbol system-stylistic marker translation style. This paper hopes to be helpful to the practice and analysis of stylistic translation through theoretical elaboration and translation analysis. The essence of style is the author's unique personality, which is embodied in the expression form of the works. Although it is translatable, its translatability is limited. On the one hand, because of the expressive function of language, the stylistic markers as a carrier of style are tangible and translatable; cultural communication reduces barriers to stylistic translation; therefore, stylistic is translatable. On the other hand, due to the non-correspondence between linguistic symbols, the translator's subjective interpretation of style, cultural differences and other obstacles, absolute style interpretation does not exist. Although the style seems to be illusory, the translator can translate the style with the help of the tangible symbol of the style-the style marker. The style tag can not only indicate the style of the original, but also reproduce the original style through the corresponding code-changing or imitating code-changing. In this paper, stylistic markers are divided into five categories: phonological markers, lexical markers, syntactic markers, chapter markers and figure of speech markers. Faulkner's style of "noise and Fury" is embodied in the characteristics of stream of consciousness and delayed aesthetic style. The novel breaks the logic and expression order by means of reversal of space-time order, intermittent expression, repetition and punctuation sentences, which embodies the chaotic and disordered narrative of stream of consciousness. In addition, Faulkner also used the pronouns of vague meaning, abbreviated sentences, and no direct speech of the speaker to hide or blur the information, which reflected the fuzziness of the subconscious and the subjectivity of narration. These are the chaotic, hazy features of the stream of consciousness. It is with these characteristics of stream of consciousness that the novel demands higher readers' participation. While challenging the reader's analytical power, the novel gives readers an open reading pleasure after giving them an understanding. This is the delayed feature of reception aesthetics. In most cases, Li Wenjun takes note of these stylistic markers, and flexibly reproduces these stylistic markers in the translation by using the corresponding code or imitating code, preserving the stream of consciousness and the delayed style of the original work. It can be seen that although the perfect style translation cannot be realized, the translator should still pay attention to the stylistic markers and try to retain the original style by the effective means of this style transfer.
【学位授予单位】：华东师范大学
【学位级别】：硕士
【学位授予年份】：2007
【分类号】：H315.9;I046
【引证文献】
相关硕士学位论文 前1条
1 李京霖;功能对等理论视角下探析李文俊《秘密花园》译本[D];郑州大学;2012年
本文编号：2436844
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