《小熊维尼阿噗》两汉译本童趣现象顺应性对比研究

发布时间：2019-06-19 18:47

【摘要】：本文从Jef Verschueren的顺应论出发,以《小熊维尼阿噗》的两个中译本为例分析译者如何再现原文“童趣”。Milne创作的《小熊维尼阿噗》是一部优秀的儿童文学作品,讲述了维尼熊阿噗和他的好朋友们发生在百亩森林里的一系列有趣又有爱的小故事。作品风靡一时,语言简练幽默,有大量的修辞手法及感叹词等。如何顺应原文语言风格成为译者最大的挑战。Verschueren认为语言的使用是一个不断选择的过程,语言的商讨性、变异性及顺应性使语言使用者的选择和顺应成为可能。翻译作为两种文化交流的媒介,同样离不开选择和顺应。译者在翻译儿童文学时尤其要注意儿童语言特征,顺应原文风格的同时重现源语童趣。本文以顺应论为框架,着重从语言结构顺应、语境关联成分顺应、动态顺应、意识突显性四个方面分析不同译者在翻译《小熊维尼阿噗》过程中的选择顺应倾向。在语境关联成分顺应方面,从社会规范,文化和指示方面对比译者的选择倾向性差异;在语言结构顺应方面,借助了语料库手段,用量化手法从语音、词汇和句子层面上对比两译者语言顺应差异;在动态顺应方面,则从不同译者的社会背景和个人心理方面对比不同译者的选择与顺应。在意识突显性方面,从译者意识参与度对比研究造成译作差异的原因。通过对比分析,得出以下结论:在语言结构方面,卢译本注重顺应原文语言结构,而李译本为迎合目标语读者,更倾向于童趣的再现;在上下文语境方面,卢晓顺应原文语言语境,大量使用连词,虽然不符合中文习惯,但是能清晰的反应事件发展前后顺序,有利于儿童理解文章;李译本为顺应目标语读者的交际语境对着原文稍作调整,四字成语、谚语等的使用符合中国儿童审美意识和审美情趣,体现出原文的英式童趣;在动态顺应方面,卢译本考虑到当下中外交流日益频繁,儿童视野拓宽,因此使用异化手法保留原文韵味。相比而言李译本的作品因没有顺应当下儿童语言发展趋势而略显古板;在意识突显性方面,译者的意识突显程度影响择词和顺应,李译本为顺应目标语读者的审美,保持童心,发现童趣,将英式童趣转换为中式童趣,对原文修改较多,意识突显性强;而卢晓更加忠实原文语言结构,意识参与度低。通过对比两译本发现译者要顺应目标语儿童读者的语言特点,适当脱离原文语言结构,注重对原文童趣的顺应,使用浅显易懂的语言,注重“神似”而非“形似”,多使用拟声词、叠词、重复和韵脚等符合儿童音乐欣赏的词,尽量避免使用长句,创造儿童“乐”于接受的形式。
[Abstract]:Based on Jef Verschueren's adaptation theory, this paper analyzes how the translator reproduces the original "childlike interest" by taking two Chinese versions of Winnie Poofu, the little bear, as an example. Milne's "Winnie Poof" is an excellent work of children's literature, which tells a series of interesting and loving short stories in which Winnie Xiapu and his good friends occurred in a hundred mu forest. Works are popular for a while, concise and humorous, with a large number of rhetorical devices and exclamations. How to adapt to the original language style has become the biggest challenge for translators. Verschueren believes that the use of language is a process of continuous selection, and the negotiation, variability and adaptability of language make it possible for language users to choose and adapt. Translation, as the medium of communication between the two cultures, can not be separated from choice and adaptation. When translating children's literature, translators should pay special attention to children's linguistic features and reproduce the children's interest of the source language while conforming to the original style. Based on the adaptation theory, this paper focuses on the adaptation tendency of different translators in the process of translating Winnie Poof from four aspects: linguistic structure adaptation, contextual relevance adaptation, dynamic adaptation and consciousness salience. In the aspect of contextual adaptation, this paper compares the translator's choice orientation from the aspects of social norms, culture and deixis; in the aspect of linguistic structural adaptation, with the help of corpus, compares the differences in linguistic adaptation between the two translators quantitatively from the phonetic, lexical and sentence levels; and in the aspect of dynamic adaptation, compares the choices and adaptations of different translators from different translators' social background and personal psychology. In the aspect of consciousness salience, this paper makes a contrastive study of the reasons for the differences in translation texts from the perspective of translator's consciousness participation. Through contrastive analysis, the following conclusions are drawn: in the aspect of language structure, Lu's translation pays attention to the adaptation of the original language structure, while Li's translation is more inclined to the reproduction of children's interest in order to cater to the target language readers. In the contextual context, Lu Xiaoshun uses a large number of conjunctions in the original language context, although it is not in line with Chinese habits, but can clearly respond to the sequence of events before and after the development, which is conducive to children's understanding of the article. In order to adapt to the communicative context of the target language readers, the use of four-character idioms and proverbs conforms to the aesthetic consciousness and aesthetic taste of Chinese children and reflects the British children's interest in the original text. In the aspect of dynamic adaptation, Lu's translation takes into account the increasing frequency of communication between China and foreign countries and the widening of children's horizons, so the alienation technique is used to retain the charm of the original text. In contrast, the works of Li's translation are slightly staid because they do not conform to the current trend of children's language development. In the aspect of consciousness salience, the translator's consciousness highlights affect the choice of words and adaptation. Li's translation is more faithful to the original language structure and has a low degree of consciousness participation in order to conform to the aesthetic appreciation of the target language readers, maintain childlike innocence, find that the British children's interest is transformed into Chinese children's interest, modify the original text more often, and have a strong consciousness of dominance, while Lu Xiao is more faithful to the original language structure and has a low degree of consciousness participation. By comparing the two versions, it is found that the translator should conform to the linguistic characteristics of the child readers of the target language, properly deviate from the original language structure, pay attention to the adaptation to the original children's interest, use a simple and understandable language, pay attention to "divine resemblance" rather than "form similarity", use onomatopoeia, overlapping words, repetition and rhyme, etc., to avoid the use of long sentences and create the acceptable form of children's "music".
【学位授予单位】：江苏大学
【学位级别】：硕士
【学位授予年份】：2016
【分类号】：H315.9;I046

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