認知語言學(xué)視域下《無名的裘德》通感隱喻漢譯研究
發(fā)布時間：2019-03-14 20:45
【摘要】：通感，在傳統(tǒng)的修辭學(xué)上一直被認為是語言的一種修辭技巧。但隨著認知語言學(xué)研究的發(fā)展和盛行，通感已不僅是一種修辭手段，也是一種隱喻，是人們進行思考和行動的認知模式。人的五官是相通的，某一感官受到的刺激會給另一感官帶來類似的感受。通感隱喻結(jié)構(gòu)中的源域和目的域在日常邏輯分類系統(tǒng)中屬于不同的感官范疇，它們產(chǎn)生的相異性（即語義沖突）就是通感隱喻意義構(gòu)建的基本條件(王彩麗,2004:40-41)。通感隱喻的獨特之處在于利用描述一種感官印象的的詞語來表現(xiàn)出另一種感官印象，，兩個或多個感官域之間的映射和遷移成就了一種獨特的審美效果。通感隱喻可以說是一般隱喻的特例，可以從認知角度進行研究和分析。通感現(xiàn)象呈等級分布，在語言表達上，表示低級感覺的詞用來修飾較高級感覺的詞，反向的用例明顯較少(李國南,1996:39)。通常所提到的感官主要包括五種，從低級到高級依次如下：觸覺、味覺、嗅覺、聽覺和視覺。事實上，通感隱喻恰恰主要反映的是人物心理活動（心理狀態(tài)、情感變化），心理活動引起了感官間的交流溝通，進而使兩種或多種感覺融為一體。就翻譯研究而言，認知視角下的通感隱喻翻譯仍是一個比較新的話題。對于文學(xué)作品中通感隱喻的翻譯是否恰當(dāng)探討還不多見，系統(tǒng)和細致的分析和探討更是鳳毛麟角。 小說《無名的裘德》是哈代的封筆之作，他自稱要寫出“靈與肉的生死搏斗”。小說中主要角色偏少，人物的心理活動豐富，作者以一種悲愴的筆調(diào)描述了鄉(xiāng)村青年裘德一生的悲劇。主人公裘德勤奮好學(xué)，刻苦自修，卻始終被拒之大學(xué)門外；在婚姻上，他與表妹蘇的愛情亦為教會所不容。在雙重打擊下他年僅三十歲即含恨而終。裘德可以說是一個矛盾的個體，始終在理想的追求與現(xiàn)實的殘酷中掙扎。在主人公大量心理活動的牽引下，小說產(chǎn)生了大量通感隱喻。 本論文以認知語言學(xué)為視角，以通感隱喻的相關(guān)研究成果為理論基礎(chǔ)，通過對《無名的裘德》三個漢譯文本的對比分析，探討了英語通感隱喻漢譯的原則與策略，期望為英漢通感隱喻翻譯提供一定啟示。
[Abstract]:Synaesthesia, in traditional rhetoric, has always been regarded as a rhetorical technique of language. However, with the development and prevalence of cognitive linguistics, synaesthesia is not only a rhetorical device, but also a metaphor and a cognitive model for people to think and act on. A person's facial features are interlinked, and the stimulation of one sense will bring similar feelings to the other. The source domain and the destination domain in synaesthesia metaphor structure belong to different sensory categories in the daily logical classification system, and their difference (i.e. semantic conflict) is the basic condition for the construction of synaesthesia metaphor meaning (Wang Caili, 2004 / 40 / 40 / 41). Synaesthesia metaphor is unique in that the words describing one sensory impression are used to express another sensory impression. The mapping and transfer between two or more sensory domains make a unique aesthetic effect. Synaesthesia metaphor can be regarded as a special case of general metaphor and can be studied and analyzed from the perspective of cognition. Synaesthesia has a hierarchical distribution. In terms of language expression, the words used to denote the lower sense are used to modify the higher sense, and the reverse use cases are obviously fewer (Li Guonan, 1996 / 39). The five senses are usually mentioned, from low to high: tactile, taste, olfactory, auditory, and visual. In fact, synaesthesia metaphor mainly reflects the character's psychological activity (psychological state, emotional change). Psychological activity causes the communication between the senses, and then makes two or more kinds of sensations become one. As far as translation studies are concerned, synaesthesia metaphor translation from the perspective of cognition is still a relatively new topic. It is rare to discuss the proper translation of synaesthesia metaphor in literary works, and systematic and meticulous analysis and discussion are rare. Jude, the unknown, is a sealed work by Hardy, who claims to write "the fight between the Spirit and the flesh." There are few main characters in the novel and the psychological activities of the characters are abundant. The author describes the tragedy of Jude's life in a sorrowful style. Jude, the protagonist, studied hard, but was always rejected from the university. In marriage, his love with his cousin Su was not acceptable to the church. He died of hatred when he was only thirty years old under a double blow. Jude can be said to be a contradictory individual, always struggling in the pursuit of ideal and the cruelty of reality. Under the traction of a large number of psychological activities of the protagonist, the novel produces a large number of synaesthetical metaphors. From the perspective of cognitive linguistics, this paper discusses the principles and strategies of synaesthetical metaphor translation from the perspective of cognitive linguistics, based on the comparative analysis of the three Chinese translation texts of Jude, the unknown, and the related research results of synaesthetical metaphor in the English language, based on the contrastive analysis of the three Chinese translation texts of Jude the unknown. It is expected to provide some inspiration for the translation of synaesthetical metaphors in English and Chinese.
【學(xué)位授予單位】：遼寧師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2013
【分類號】：H315.9;I046
本文編號：2440354
[Abstract]:Synaesthesia, in traditional rhetoric, has always been regarded as a rhetorical technique of language. However, with the development and prevalence of cognitive linguistics, synaesthesia is not only a rhetorical device, but also a metaphor and a cognitive model for people to think and act on. A person's facial features are interlinked, and the stimulation of one sense will bring similar feelings to the other. The source domain and the destination domain in synaesthesia metaphor structure belong to different sensory categories in the daily logical classification system, and their difference (i.e. semantic conflict) is the basic condition for the construction of synaesthesia metaphor meaning (Wang Caili, 2004 / 40 / 40 / 41). Synaesthesia metaphor is unique in that the words describing one sensory impression are used to express another sensory impression. The mapping and transfer between two or more sensory domains make a unique aesthetic effect. Synaesthesia metaphor can be regarded as a special case of general metaphor and can be studied and analyzed from the perspective of cognition. Synaesthesia has a hierarchical distribution. In terms of language expression, the words used to denote the lower sense are used to modify the higher sense, and the reverse use cases are obviously fewer (Li Guonan, 1996 / 39). The five senses are usually mentioned, from low to high: tactile, taste, olfactory, auditory, and visual. In fact, synaesthesia metaphor mainly reflects the character's psychological activity (psychological state, emotional change). Psychological activity causes the communication between the senses, and then makes two or more kinds of sensations become one. As far as translation studies are concerned, synaesthesia metaphor translation from the perspective of cognition is still a relatively new topic. It is rare to discuss the proper translation of synaesthesia metaphor in literary works, and systematic and meticulous analysis and discussion are rare. Jude, the unknown, is a sealed work by Hardy, who claims to write "the fight between the Spirit and the flesh." There are few main characters in the novel and the psychological activities of the characters are abundant. The author describes the tragedy of Jude's life in a sorrowful style. Jude, the protagonist, studied hard, but was always rejected from the university. In marriage, his love with his cousin Su was not acceptable to the church. He died of hatred when he was only thirty years old under a double blow. Jude can be said to be a contradictory individual, always struggling in the pursuit of ideal and the cruelty of reality. Under the traction of a large number of psychological activities of the protagonist, the novel produces a large number of synaesthetical metaphors. From the perspective of cognitive linguistics, this paper discusses the principles and strategies of synaesthetical metaphor translation from the perspective of cognitive linguistics, based on the comparative analysis of the three Chinese translation texts of Jude, the unknown, and the related research results of synaesthetical metaphor in the English language, based on the contrastive analysis of the three Chinese translation texts of Jude the unknown. It is expected to provide some inspiration for the translation of synaesthetical metaphors in English and Chinese.
【學(xué)位授予單位】：遼寧師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2013
【分類號】：H315.9;I046
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