规范与创造性叛逆：《双城记》三个译本的对比研究

发布时间：2018-05-17 11:34

本文选题：《双城记》 + 语料库翻译研究　；参考：《徐州师范大学》2011年硕士论文

【摘要】：A Tale of Two Cities是19世纪英国现实主义文学最杰出的代表查尔斯·狄更斯的优秀代表作之一。本研究选取该小说的17个全译本(不包括儿童读本、英汉对照和编译、节译等在内)建立其语料库,并根据现当代中国翻译史,将它们归入四个历史时期。在语料库软件的辅助下,通过对译本所在时期的操作规范进行定量描写和定性分析,首先重构八、九十年代译者翻译过程中所遵循的翻译“规范”,然后以描写重构的“规范”为衡量标准,重点研究《双城记》三个代表性译本译者的创造性叛逆行为。本研究具体回答以下两个研究问题:1)小说A Tale of Two Cities在二十世纪八十至九十年代的翻译规范是什么?2)在张玲和张扬、宋兆霖和姚暨荣以及孙法理翻译的三个译本中,译者展示了怎样的创造性叛逆行为? 本研究发现: (1)与第二、第三个时期相比,《双城记》第四个时期(八、九十年代)的汉译本所体现出的翻译规范最接近于译语的语言规范。具体来看,在词汇层面上,第四个时期的译本词汇的变化性最大,翻译语言更加丰富多彩;这个时期的虚词比率最低,实词比率最高,译本所含的信息量最大;在语法层面上,第四个时期译本的平均句长最短,译者倾向于使用简短的句子;定语修饰语以及复合句的数量最少,关联词的种类丰富,变化也最大,总之第四个时期的译本倾向于意合,表现出向目的语语言规范回归的倾向。而第二个时期译本的翻译特点与第四个时期正好相反,译本表现出翻译行为的简略化、明确化和欧化,趋向于形合并遵循源语的语言规范。第三个时期译本的特点介于两者之间。总的来说,三个时期译本的翻译规范由倾向源语语言规范逐渐向译语语言规范转变。 (2)在相同历史时期翻译规范的背景下,研究选取三个著名的译本,从语言和文化方面考察译者的创造性叛逆。每个译者都是以自己对小说的认识去理解原文,并用自己的语言去再现原文的意思。张玲和张扬的创造性叛逆显著。从语言运用的角度说,译者的表达与其它两个译本有很大的区别,译本的语言表现出了对译语文化与传统的创造性叛逆。为了突出强烈的表达效果,译者运用反译法;为了表现语言的流畅与节奏感,译者运用诗歌的形式翻译习语。在语言形式方面,译本主要遵从原文的形式;在文化的传承上,译者保留了源语的文化意象。译本最大的翻译特点是通过创造性叛逆达到交流的目的,用生动的语言,丰富的想象,准确地再现原文的深层含义。宋兆霖和姚暨荣的译本以不同的表现形式体现译者的主观创造性。译者以自己对小说的认识去理解原文,用自己的语言淋漓尽致地再现了原文的意图。为了突显小说人物的悲惨经历,译者创造性地添加程度副词,以达到增强语气的效果;译者放弃原文的书信格式,以读者熟识的形式翻译小说。本着传达原汁原味异土风情的原则的同时,旨在使读者产生感同身受的共鸣。与前两个译本相比,孙法理译本中创造性叛逆的表现也颇多。在词汇层面,他多次运用略显过时的词语来表达特定的含义;运用创造性叛逆的语言打破源语语言形式的束缚;通过灵活多变的翻译技巧,减轻读者的阅读负担。译文中最成功的创造性叛逆体现在对谚语“入乡随俗”的翻译上,译者创造了一个全新的文化意象,令人耳目一新。在充分表现原文丰采的同时,兼顾译入语文化读者的可接受性,注重读者的理解。在此分析与讨论的基础上,回答了两个研究问题。研究通过自建《双城记》汉译本的语料库,利用描写翻译学的理论,描述八、九十年代译本所体现的翻译共性,即翻译规范;再选取其中三个著名译本,在译者自身拥有不同“先知、前有”,产生各具特色译文的基础上,分析译者翻译的创造性叛逆,从而揭示译者的翻译过程中体现的翻译规范,但又不是简单地遵循时代的翻译规范,而是翻译规范与译者的创造性叛逆共存。
[Abstract]:A Tale of Two Cities is one of the outstanding representative works of Charles Dickens, the most outstanding representative of British realistic literature in the nineteenth Century. This study selected the 17 full versions of the novel (excluding children's books, English and Chinese contrast and compilation, translation, etc.) to establish their corpus, and put them into the history of contemporary Chinese translation, and put them into the four calendar. In the history of history, with the assistance of corpus software, by quantitative and qualitative analysis of the operational norms of the period of the translation, the "norms" of the translation of the eight and 90s translators were restructured, and then the "norms" described in the description of the reconfiguration were measured as the criteria, and the three representative translators in the Shuangcheng record were studied. Creative treason.
This study answers the following two research questions: 1) what are the translation norms of the novel A Tale of Two Cities from eighty to 90s twentieth Century? 2) in the three translations of Zhang Ling and Zhang Yang, Song Zhaolin and Yao Jirong and sun French translation, what kind of creative treason did the translators show?
This study found that:
(1) compared with the second and third periods, the translation norms embodied in the fourth periods of the Shuangcheng record (eight, 90s) are most closely related to the language norms of the target language. Specifically, at the lexical level, the translation of the translated words in the fourth periods is the most varied and the translation language more colorful; the ratio of the function words is the lowest at this time. At the grammatical level, the average sentence length of the fourth versions is the shortest, the translator tends to use short sentences, the number of the attributive modifier and the compound sentence is the least, the types of Related words are rich and the change is the biggest. The translation of the total fourth periods tends to parataxis, showing the direction to the target. The translation characteristics of the second periods are the opposite of the fourth periods. The translation shows the simplification, clarification and Europeanization of the translation behavior, and the tendency to merge into the language norms of the source language. The characteristics of the third versions of the translation are between the two. In general, the translation of the translation of the three periods. Norms are gradually changed from the standard of source language to the standard of target language.
(2) in the context of the same historical period, three famous translations are selected to examine the creative treason of the translators from language and culture. Each translator is to understand the original text with his own understanding of the novel and reappear the meaning of the original text in his own language. Zhang Ling and Zhang Yang's creative treason is significant. From the point of view, the translator's expression is very different from the other two versions. The translated language shows the creative treason of the culture and tradition of the target language. In order to highlight the strong expression effect, the translator uses the anti translation method; in order to express the fluency and rhythm of the language, the translator translates idioms in the form of poetry. The translation is mainly in the form of the original text; in the inheritance of culture, the translator has retained the cultural image of the source language. The greatest translation characteristic of the translation is to achieve the purpose of communication through creative treason, and to reproduce the deep meaning of the original text with vivid language and rich imagination.
The translator of Song Zhaolin and Yao Jirong embodies the translator's subjective creativity in different forms. The translator reproduces the original intention by his own understanding of the novel and his own language. In order to highlight the tragic experiences of the characters, the translator creatively adds the degree adverb to achieve the effect of the tone of the translator. The translator gives up the form of the original letter and translates the novel in the form of the reader's acquaintance. In the light of the principle of conveying the original flavor of the original exotic soil, the purpose of the translator is to make the reader resonate with the feeling.
Compared with the previous two versions, there are also many creative treason in sun French translation. At the lexical level, he uses a few words to express specific meaning; he uses the language of creative treason to break the bondage of the source language, and reduces the reader's reading burden through flexible translation techniques. The most successful translation is in the translation. The creative treason is reflected in the translation of the proverb "to the Romans and the Romans". The translator has created a new cultural image, which is a new and fresh expression. At the same time, it takes full attention to the acceptability of the readers of the target language and pays attention to the reader's understanding.
On the basis of this analysis and discussion, two research questions are answered. By using the corpus of the self construction of "Shuangcheng" and Chinese translation, the author uses the theory of descriptive translation to describe the commonality of translation in the eight and 90s versions, that is, the norms of translation, and then select three of the famous translations, and the translators own the different "prophets, before", and the translators themselves. On the basis of each characteristic translation, the translator's creative treason is analyzed to reveal the translation norms embodied in the translator's translation, but it does not simply follow the norms of the times, but the coexistence of the translators' creative treason and the translator's creative treason.
【学位授予单位】：徐州师范大学
【学位级别】：硕士
【学位授予年份】：2011
【分类号】：H315.9;I046

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