【摘要】： 對(duì)風(fēng)格和風(fēng)格可譯性的探討始終是翻譯界的討論熱點(diǎn)之一。本文對(duì)風(fēng)格定義、可譯性及翻譯方法問題作了探討，并由此對(duì)李文俊所譯�？思{《喧嘩與騷動(dòng)》的中譯本中風(fēng)格的移譯進(jìn)行了評(píng)析，，指出保留原作風(fēng)格應(yīng)當(dāng)是文學(xué)作品翻譯的目標(biāo)，譯者可以借助風(fēng)格的符號(hào)系統(tǒng)——風(fēng)格標(biāo)記翻譯風(fēng)格。本文希望通過理論闡述和譯文分析對(duì)風(fēng)格翻譯實(shí)踐與評(píng)析有所幫助。 風(fēng)格的本質(zhì)是作者獨(dú)特的個(gè)性，它具體體現(xiàn)在作品的表達(dá)形式中。它雖然是可譯的，但其可譯性有限。一方面，因?yàn)檎Z(yǔ)言都具有表感功能；作為風(fēng)格載體的風(fēng)格標(biāo)記是有形的，可譯的；文化交流減少了風(fēng)格翻譯的障礙；因此，風(fēng)格是可譯的。另一方面，由于語(yǔ)言符號(hào)間的不對(duì)應(yīng)性，譯者對(duì)風(fēng)格的主觀解讀，文化差異等障礙，絕對(duì)的風(fēng)格傳譯并不存在。 雖然風(fēng)格看似虛無(wú)縹緲，但譯者可以借助風(fēng)格的有形符號(hào)——風(fēng)格標(biāo)記來(lái)翻譯風(fēng)格。風(fēng)格標(biāo)記不但可以提示原作風(fēng)格特色，而且可以通過對(duì)應(yīng)式換碼或模仿式換碼再現(xiàn)原作風(fēng)格。本文把風(fēng)格標(biāo)記分為五類：語(yǔ)音標(biāo)記、詞法標(biāo)記、句法標(biāo)記、章法標(biāo)記、修辭格標(biāo)記。 �？思{《喧嘩與騷動(dòng)》的風(fēng)格突出體現(xiàn)在意識(shí)流特色和延宕美學(xué)風(fēng)格。小說(shuō)運(yùn)用時(shí)空順序顛倒、斷續(xù)表達(dá)法、重復(fù)和無(wú)標(biāo)點(diǎn)句等方式打破邏輯和表達(dá)順序，體現(xiàn)了意識(shí)流敘述混亂、無(wú)序的特點(diǎn)；此外，�？思{還采用所指意義模糊的代詞、省略句、無(wú)說(shuō)話人直接引語(yǔ)等手段，把信息隱去或模糊化，反映了潛意識(shí)的模糊性和敘述主觀性。這些都是意識(shí)流渾沌、朦朧的特點(diǎn)。正是有了意識(shí)流的這些特點(diǎn)，小說(shuō)對(duì)讀者參與性要求更高，在挑戰(zhàn)讀者分析力的同時(shí)，給與讀者理解后豁然開朗的閱讀快樂。這就是接受美學(xué)中的延宕特色。 在多數(shù)情況下，李文俊注意到了這些風(fēng)格標(biāo)記，并靈活運(yùn)用對(duì)應(yīng)式換碼或模仿式換碼在譯文中再現(xiàn)了這些風(fēng)格標(biāo)記，保留了原作的意識(shí)流及延宕風(fēng)格�？梢�，雖然完美的風(fēng)格移譯無(wú)法實(shí)現(xiàn)，但譯者仍應(yīng)當(dāng)關(guān)注風(fēng)格標(biāo)記，運(yùn)用這一風(fēng)格移譯的有效手段力求保留原作風(fēng)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.
【學(xué)位授予單位】：華東師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2007
【分類號(hào)】：H315.9;I046

【引證文獻(xiàn)】

相關(guān)碩士學(xué)位論文 前1條

1 李京霖;功能對(duì)等理論視角下探析李文俊《秘密花園》譯本[D];鄭州大學(xué);2012年

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