本文選題：《最后一片葉子》 + 主述位結(jié)構(gòu)��； 參考：《廣西師范大學(xué)》2016年碩士論文

【摘要】：主述位的翻譯的對等與轉(zhuǎn)換的實現(xiàn)形式是近年來主位理論的翻譯實踐研究的熱點。國內(nèi)外的一些語言學(xué)者采用語篇功能的三個子系統(tǒng),即主位結(jié)構(gòu),信息結(jié)構(gòu)和銜接系統(tǒng),對語篇進(jìn)行了小句和詞匯層面的相關(guān)研究。近年來,不少學(xué)者將語言學(xué)研究成果與翻譯研究相結(jié)合,對語篇本身及其譯文做相關(guān)的對比和比較分析,為翻譯研究提供了新的語言學(xué)視角。歐·亨利的《最后一片葉子》因其出乎意料的結(jié)局,成為許多語言學(xué)者的語篇研究文本,但他們的譯文研究主要基于傳統(tǒng)經(jīng)驗或者美學(xué)理論,主觀色彩濃厚。而功能語言學(xué)界認(rèn)為,客觀的語篇分析方法更能體現(xiàn)小說或詩歌等語篇及其譯本之間的翻譯差異性�；谏鲜鲅芯勘尘�,本文試圖將韓禮德的主述位理論作為理論框架,采用數(shù)據(jù)統(tǒng)計和描述性分析的方法,探索小說《最后一片葉子》及其漢譯本的主述位結(jié)構(gòu)和主位推進(jìn)模式在英漢兩種語篇之間的不同表現(xiàn),以及這些變化對語篇功能的影響。本文主要圍繞三個問題進(jìn)行探討：第一,《最后一片葉子》及其漢譯本的主述位結(jié)構(gòu)(單項主位,復(fù)項主位和句項主位)相關(guān)分布情況如何?各自的特點是什么?第二, 《最后一片葉子》及其漢譯本的主位推進(jìn)模式推進(jìn)分布情況如何?段落之間的推進(jìn)模式有何特點?第三,上述針對原文和譯本的主位結(jié)構(gòu)分析是否存在翻譯對等或相應(yīng)的翻譯轉(zhuǎn)換問題?若存在,表現(xiàn)在哪里?有何特點?為了解決以上三大問題,本文首先采用數(shù)據(jù)統(tǒng)計的方法,以韓禮德(2008)《功能語法導(dǎo)論》對主述位結(jié)構(gòu)的三大成分單項主位(包括參與者、環(huán)境成分和過程成分)、復(fù)項主位(包括主題主位或經(jīng)驗主位、人際主位和語篇主位)和句項主位的定義為劃分基準(zhǔn),同時結(jié)合描述性的分析方法,試圖發(fā)現(xiàn)其分布的特點。其次,主位推進(jìn)模式類型主要采用朱永生的分類(1990/1995)(涉及四種模式：主位同一述位同一,簡單線性推進(jìn)和交叉推進(jìn))和描述性分析的方式進(jìn)行�！蹲詈笠黄~子》中四片葉子的出現(xiàn),承擔(dān)著主人公命運變化起伏的重任,因此本文擬采用這四片葉子作為分析落腳點,將它們相關(guān)的段落作為推進(jìn)模式的分析材料,試圖從主線情節(jié)上發(fā)現(xiàn)原文和譯本在主位推進(jìn)模式上是否存在差異,以及各自的特點是什么?第三,語篇元功能的分析方法最大的特點就是傳遞語篇信息最大化,語篇銜接效果最大化。因此本文以此為評估基準(zhǔn),對比兩者在翻譯對等和轉(zhuǎn)換上的差異及其特點。以上研究表明：從主位結(jié)構(gòu)分布上看,一方面《最后一片葉子》兩個文本的主位結(jié)構(gòu)都存在對等的狀況：兩個譯本都是簡單主位占主要的地位,分別以65.42%和80.77%在三種主位中占據(jù)首位,其比例遠(yuǎn)超于其他兩個主位。這表明,作者和譯者運用簡單的主位結(jié)構(gòu)去表達(dá)他們的內(nèi)在信息功能,語篇效果呈現(xiàn)出簡潔化,貼近大眾；另一方面,它們的主位結(jié)構(gòu)也存在差異：橫向?qū)Ρ葋砜?中譯本的簡單主位比英文原本的高出許多,而中譯本的多重主位(19.23%)和句項主位(0%)比英文原本的減少了15.35%,而這15.35%恰恰是中譯本的簡單主位和英文原本的簡單主位兩個數(shù)值之間的差,這也表明了譯者減少了多重主位和句項主位這些復(fù)雜的信息結(jié)構(gòu)的使用,增加了簡單主位來降低了譯本的語言難度,語言語篇效果趨向于簡潔化的特點。從主位推進(jìn)的分布和排列來看,一方面兩種語言之間的相似推進(jìn)被保留,即翻譯的對等：作者和譯者都采用了主為同一和述位同一的方式來推動四片葉子的主要情節(jié),同一位置即主位或述位上(最后一片葉子的描述)被反復(fù)加強推進(jìn),這樣的信息的表達(dá)方式強調(diào)了主位或述位信息的語篇效果,使得作者原本的信息點能被高度識別,最后一片葉子給予女主人公瓊西的心理力量漸漸被加強；另一方面,它們之中依然存在推進(jìn)的轉(zhuǎn)換：在英文原本里,推進(jìn)類型比較單一,主要為主為同一型。這說明作者使用主位作為背景信息引出瓊西對命運對生命變化的深刻認(rèn)識。而在中譯本中,推進(jìn)類型趨向多樣性,四種推進(jìn)類型都有均勻呈現(xiàn)。這說明譯者采用多角度的變化,將最后一片葉子和瓊西以及其他事物互換位置,呈現(xiàn)出人與自然之間的相互影響的復(fù)雜關(guān)系,而不是單一的直線影響。這一點譯者的布局較好于原文,更為客觀化反映自然界的生死聯(lián)系。總的來說,主位結(jié)構(gòu)和主位推進(jìn)模式雖然被一部分被改變了,但是它保存內(nèi)部信息的完整性,即將原句的長句拆分為零碎的流水小句,使得語篇信息的從表層結(jié)構(gòu)上的流動變?yōu)檎Z篇內(nèi)在層面上的流動。換句話說,英語小句注重結(jié)構(gòu)的嚴(yán)謹(jǐn)性,而漢語則注重話題的連貫性,因此,譯者對原文作了一些語言轉(zhuǎn)換是為了更好地還原原文的信息性和保持主題的連貫性,這也是為了語篇效果的對等服務(wù)的。譯者采用了這樣的翻譯策略是為了更貼近原文的敘述風(fēng)格,獲得相對更多的語言的對等,使得小說的主要信息得以保存和傳遞,語篇功能效果實現(xiàn)最大化。
[Abstract]:The realization of equivalence and transformation of the translation of the main rheme is a hot spot in the translation practice of the theme theory in recent years. Some scholars at home and abroad adopt three subsystems of text function, namely, the theme structure, the information structure and the cohesive system. The combination of linguistic research and translation studies, a comparative and comparative analysis of the text itself and its translation, provides a new linguistic perspective for the study of translation. The last leaf of O Henry has become a textual research text for many linguists because of its unexpected ending, but their translation studies are mainly based on the text. On the basis of the above research background, this paper tries to make the theory of Hallidy's master rheme theory as a theoretical framework, using data statistics and descriptive classification. The method of analysis is to explore the different manifestations of the theme structure of the last leaf and its Chinese translation and the mode of thematic progression between the two texts in English and Chinese, as well as the influence of these changes on the function of the text. This paper mainly focuses on three questions: first, < last leaf > and the main Rheme Structure of the Chinese translation (single item) What are the related distributions of the main bit, the complex theme and the sentence theme? What are the characteristics of the second, the last leaf and the Chinese translation, and what are the characteristics of the propelling pattern between the paragraphs? Third, whether there is a translation equivalence or phase for the analysis of the theme structure of the original and the translated texts. In order to solve the above three major problems, this paper first adopts the method of data statistics, with the introduction of Hallidy (2008) < introduction to functional grammar > the three components of the main Rheme Structure (including the participants, the environmental components and the process components), and the main bits of the subject (including the theme or the theme or the theme, or the theme, or the theme or the main bit or the theme. The definition of the experiential theme, the interpersonal theme and the text theme) and the sentence theme are defined as the benchmarks, and the descriptive analysis method is used to find the characteristics of its distribution. Secondly, the main pattern type of the theme is Zhu Yongsheng's classification (1990/1995) (involving four modes: the same one of the main bit, the simple linear propulsion and the cross push. " The emergence of the last leaf > four leaves in the last leaf and the appearance of the four leaves are responsible for the change of the fate of the hero. Therefore, this article intends to use these four leaves as the analysis foothold and the related paragraphs as an analytical material for the propelling pattern, trying to find the original and translation in the main position from the main plot. Whether there are differences in the mode of propulsion and what are their characteristics? Third, the most important characteristic of the analysis method of discourse metafunction is to convey the maximization of text information and to maximize the effect of textual cohesion. This is the basis of this paper to compare the differences and characteristics of the two in translation equivalence and translation. On the basis of the distribution of the main structure, on the one hand, the main position of the last leaf and the two text has the equivalent status: the two translations are the dominant position of the simple theme, which occupy the first place among the three kinds of main bits with 65.42% and 80.77% respectively, and the proportion is far more than the other two main positions. To express their internal information function, the effect of the text is concise and close to the public; on the other hand, there are also differences in their theme structure. In the horizontal contrast, the simple theme of the Chinese version is much higher than that of the original English, while the multiple theme (19.23%) and the sentence theme (0%) in the Chinese version are 15.35% less than that in the English version. And this 15.35% is the difference between the simple theme of the Chinese version and the two values of the original simple theme in the English language. It also shows that the translator reduces the use of complex information structures such as multiple themes and sentence items, and increases the simple theme to reduce the language difficulty of the translation, and the language effect tends to be concise. The distribution and arrangement of the propelling of the theme, on the one hand, the similarity between the two languages is preserved, that is, the equivalence of the Translation: both the author and the translator adopt the main plot of the four leaf in the same way as the same and the rheme, and the same position, or the description of the most later leaf, is pushed forward repeatedly. The expression of such information emphasizes the textual effect of the theme or the rheme information, which makes the author's original information point highly recognizable, and the last leaf gives the heroine Josi's psychological strength gradually strengthened; on the other hand, there is still a progressive transformation among them: in the original English, the type is relatively single, the main type is the main type. This shows that the author uses the theme as the background information to lead to a profound understanding of the change of life by his fate. In the Chinese version, the type of propulsion tends to be diverse and the four types of propulsion have a uniform presentation. The position, which presents the complex relationship between human and nature, is not a single linear effect. The translator's layout is better than the original. It is more objective to reflect the life and death links of nature. In general, the theme structure and the theme propulsion model are changed in part, but it preserves the integrity of the internal information, The long sentence of the original sentence is split into a piecemeal clause, which makes the flow of textual information from the surface structure into the flow of the inner layer of the text. In other words, the English clause pays attention to the rigor of the structure, while the Chinese pays attention to the coherence of the topic. Therefore, the translator makes some language conversion to the original text in order to better restore the original text. The text is informative and maintains the coherence of the theme, which is also for the equivalent service of the text effect. The translator adopts such a translation strategy to get closer to the narrative style of the original, obtain more equivalence of language, save and transmit the main information of the novel, and maximize the functional effect of the text.

【學(xué)位授予單位】：廣西師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2016
【分類號】：H315.9;I046

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