本文選題：風格傳譯 + 奈達功能對等理論　； 參考：《吉林大學》2009年碩士論文

【摘要】： 基于語料庫輔助的《老人與�！凤L格傳譯的研究 美國作家海明威的代表作《老人與�！穬群S富,耐人尋味。有關它的研究可謂是汗牛充棟,它們大都集中在作品的思想內容和主人公的象征意義的探尋,相比之下,對作品的藝術風格和表現(xiàn)手法的研究就顯得薄弱了。而且以往的研究集中在定性研究,隨機選取片段進行分析,未能從宏觀角度進行定量分析。 為了彌補定性研究的局限性和片面性,針對于此,本文從文體角度對《老人與�！藩毺氐奈捏w特色進行較為系統(tǒng)的分析,運用定性和定量分析相結合,通過自建的小型平行語料庫對《老人與�！吩暮蛢蓚�中譯本進行分析研究。本文擬建立兩個平行語料庫。一個是由原作與吳勞譯作組成,名為EWPARA,另一個為原作與趙少偉譯作,名為EZPARA.兩個語料庫將實現(xiàn)在句子層面的對齊,以便于平行語料檢索工具Antconc,ACWT,和ParaConc的檢索分析。 分析從兩個方面進行,一個以奈達功能對等理論為理論基礎,分析兩個中譯本在三個層面上,即詞匯,句法和篇章三個層面,在多大程度上實現(xiàn)了功能對等和文學風格的傳譯,并揭示其風格要素即小說的語言材料,表達方式和敘事方式等的具體特征。另一方面,就是分析老人與海的原文和譯文相比是否具有翻譯普遍性特征,即,簡單化,外顯化和規(guī)范化,以及兩譯本之間的翻譯普遍性表現(xiàn)程度。 奈達功能對等理論對中國翻譯界有著很重要的影響,Nida的對等翻譯理論于20世紀60年代問世,80年代在中國譯壇全面登陸,并很快在久未接觸西方翻譯理論的中國翻譯界產生了深遠的影響,形成了不談Nida就不談翻譯的局面。具體來說,奈達翻譯理論中最核心部分就是他的功能對等翻譯觀,即所謂動態(tài)對等(靈活對等)翻譯,是指從語義到語體,在接受語中用最切近的自然對等語再現(xiàn)源發(fā)語的信息。動態(tài)對等要求譯文在不同語言結構中盡可能完滿地再現(xiàn)原文意旨,限制了譯者毫無節(jié)制的自由發(fā)揮。動態(tài)對等理論也認為翻譯終歸是為讀者服務的,要是從讀者的角度,而不是從譯文的形式看翻譯,就意味著引進另一個觀點:要看譯文能否為讀者所理解。他認為,翻譯的服務對象是讀者或言語接受者,要評判譯文質量的優(yōu)劣,必須看讀者對譯文的反應如何。在翻譯過程中,譯者必須尊重接受語的特征,盡可能發(fā)揮接受語的表達潛力,用譯文接受者喜聞樂見,符合接受語表達規(guī)范的言語形式。因此,本文采用自然的語言,意義高于形式,使讀者產生共鳴作為三條原則來評判兩個譯本的好壞。同時,文學翻譯是為讀者服務的,旨在向讀者介紹異域優(yōu)秀文學作品。對這種異域的審美愉悅賦予文學翻譯一種獨一無二的審美價值,不懂外語的讀者之所以要讀文學譯著,其目的就是潛在期望通過譯著領略異族的文化。因此,風格傳譯能夠更大化的使讀者了解到這種異域情調,但前提是功能對等的實現(xiàn)。 在小說文體特征方面,本文通過雙語平行語料庫檢索數(shù)據(jù)以印證海明威樸實的文風和選取典型段落進行統(tǒng)計和分析兩個譯本在風格傳譯上的特點以及各自的優(yōu)缺點:在詞匯層面,原著喜選用最普通的日常詞匯,多使用動詞,很少使用形容詞,即便選用也是最尋常的形容詞,趙譯在挑選合適的動詞,選用普通的形容詞以及口語化的語言方面的表現(xiàn)優(yōu)于吳譯,趙譯在詞匯層面風格傳譯優(yōu)于吳譯。在句子層面,原著用結構簡單的句子,或者并列句,喜用口語化的對話形式,用最常見的連詞聯(lián)系起來,趙譯和吳譯在采用簡單的句式,分解由and連接的長句均有表現(xiàn),趙譯在語言處理和較多使用排比來顯示漢語的重視平衡的習慣,在使用口語化語言的同時兼顧文學作品的審美要求,在口語化上趙譯更優(yōu)于吳譯。在篇章層面,原文常常重復,趙譯規(guī)范化處理重復內容,而吳譯無區(qū)別對待,在處理上過于僵化,過于執(zhí)著于形式對等,造成功能上缺失,有損文學作品的審美價值和篇章整體性。簡潔、樸實的文體特色再度體現(xiàn)了海明威創(chuàng)作風格—“冰山”原則,八分之一露出水面,八分之七則含而不露,這就給讀者的留下了巨大的闡釋空間。 總體來說,研究結果表明,在詞匯層面上,吳譯的簡單化程度強于趙譯,趙譯的外顯化程度超過吳譯,在句子層面趙譯在簡化,外顯化上比吳譯強,在篇章層面,規(guī)范化程度比吳譯強,吳譯在詞匯層面的簡化和直譯造成一定程度上喪失了原文的文體風格以及吳譯局限于機械的形式對應,語言的規(guī)范化程度弱造成譯文的羞澀難懂,外顯化程度不夠,造成表達不夠清晰,而趙譯在這些方向均強于吳譯。趙譯沒有過分拘泥于原文詞句而著重于詞句后面思想感情的傳達,譯文更加精確,更接近于原作本來面目,海明威的風格是可以再現(xiàn)的,趙譯遵循海明威口語化的語言,在語言上以普通話為基礎,使用了很少的形容詞,使用很多的動詞,口語運用的比較地道,摻合適當?shù)谋狈椒窖孕纬筛挥刑厣姆g語言,在語言上放得開,吃的準,無論是對話獨白還是敘述描寫,都能做到既簡樸而又有滋味,意譯用的較多,實現(xiàn)“功能對等”,保留原作的特色,妥善的將原文中的異域文化特色:吳譯卻只單純注意詞句的模仿,直譯用的較多,保留了原文的內容,但是語言不夠簡潔,或是錯誤的理解造成了錯誤的譯句,不敢越雷池半步,卻未能酷似原作風貌,造成了生硬的寫作風格,只做到表面上的“內容對等”而忽略了“神似”即“形式對等”,有時為了達到“形式對等”造成內容上的缺失,使譯文在某種程度上喪失了海明威作品風格,同時,外來詞的歸化翻譯,使異域文化有所損失。歸根到底,譯本的好壞取決于譯者是否有深厚的語言文學修養(yǎng),是否對海明威的作品與風格的進行研究和深刻理解,譯者趙少偉的深厚的語言文學修養(yǎng)及嚴謹務實的翻譯精神在《老人與�！纷g作中盡顯無疑。譯者的任務是將原作中的異域文化氛圍以盡量接近于其本來面目的方式再現(xiàn)于讀者眼前,滿足與閱讀本民族作品不同的審美需求。所以趙譯更大程度上滿足了讀者的這種需求。 通過上述實驗證明,風格傳譯是有可能實現(xiàn)的,趙譯在實現(xiàn)功能對等的同時,實現(xiàn)了海明威風格的傳譯,語料庫輔助研究有助發(fā)現(xiàn)純粹的定性研究說服力不夠的缺陷,為結論提供了有力證明。功能對等理論作為理論支持體現(xiàn)了在本文中的指導價值。
[Abstract]:A corpus based study of style translation of the old man and the sea
The representative works of the American writer Hemingway, the old man and the sea, are rich and thought-provoking. The research on it can be described as a great deal of work. Most of them are focused on the ideological content of the works and the symbolic meaning of the protagonist. In contrast, the study of the artistic style and expression of the works is weak. In qualitative research, random selection of fragments is not able to conduct quantitative analysis from a macroscopic perspective.
In order to make up the limitation and one-sided nature of the qualitative research, this paper makes a systematic analysis of the unique stylistic features of "the old man and the sea" from the stylistic point of view, combines the qualitative and quantitative analysis, and analyses the "old man and the sea > the original" and the two Chinese versions through a small parallel corpus. This paper is to be established. Two parallel corpus. One is composed of the original work and the woo translation, named EWPARA, the other is the original work and Zhao Shao Wei's translation, and the two corpus named EZPARA. will realize the alignment at the sentence level so as to facilitate the retrieval and analysis of the parallel data retrieval tools, Antconc, ACWT, and ParaConc.
The analysis is carried out from two aspects. One is based on Nida's functional equivalence theory, and the analysis of the two Chinese versions on three levels, namely, vocabulary, syntax and text, has realized the translation of functional equivalence and literary style, and reveals its style elements, such as language materials, expressions and ways of narration, and so on. On the other hand, it is the analysis of whether the original and the translation of the old man have the universal character of translation, that is, simplification, explicit and standardized, and the general expression of translation between the two versions.
Nida's theory of functional equivalence has a very important influence on the Chinese translation circle. Nida's theory of equivalence translation came out in 1960s and landed in the Chinese translation circle in 80s. It soon had a profound influence on the Chinese translation circle that had not touched the western translation theory for a long time, and formed a situation without talking about translation without talking about Nida. The most important part of the theory of translation is his functional equivalence translation view, that is, the so-called dynamic equivalence (flexible equivalence), which refers to the reproduction of the source language from the semantic to the language and the closest natural equivalent in the language. The translator has unrestrained free play. Dynamic equivalence theory also holds that translation serves the reader. If the reader's perspective, not from the form of the translation, it means to introduce another point of view: to see if the translation can be understood by the reader. In the process of translation, the translator must respect the characteristics of the acceptor, give full play to the expression potential of the acceptor, the recipient of the translation, and the form of the language which is in the standard of the expression of the acceptor. Therefore, this article uses the natural language, which is higher than the form, and makes the readers produce. As three principles, resonance is used to judge the good or bad of the two translations. At the same time, literary translation serves the readers and aims to introduce the excellent literary works to the readers. The aesthetic pleasure of this kind of foreign language gives literary translation a unique aesthetic value. The reader who does not understand the foreign language is to read the literary translation, its purpose is the potential period. I hope to understand the culture of different races through translations. Therefore, style interpretation can make readers understand this exotic sentiment more, but the premise is the realization of functional equivalence.
In terms of the stylistic features of the novel, this paper retrieves data from a bilingual parallel corpus to verify Hemingway's simple style and select typical paragraphs for statistics and analysis of the characteristics of the two translations and their advantages and disadvantages. At the lexical level, the original book likes to choose the most common vocabulary, use verbs more, and rarely use the form. If it is used as the most common adjective, Zhao translation is superior to Wu translation in selecting the right verbs, choosing ordinary adjectives and spoken language. Zhao translation is superior to Wu translation at the lexical level. At the sentence level, the original works use simple sentences, or parallel sentences, and use colloquial dialogues in the form of spoken language. The most common conjunctions are linked. Zhao Yihe's Wu translation uses simple sentence patterns to break down the long sentences connected by and. Zhao Yi shows the habit of balancing Chinese in the language processing and more use of the parallelism, while using the spoken language to give consideration to the aesthetic requirements of literary works. In oral English, Zhao translation is better than the Wu translation. At the text level, the original text is often repeated, and the translation of Zhao is standardized to deal with the repetition of content, but the translation of Wu translation is undifferentiated, too rigid in the processing, too persistent in the form of reciprocity, resulting in lack of function, the aesthetic value of literary works and the integrity of the text. Simple, simple stylistic features re embody the "iceberg" of Hemingway's creative style. The principle of "1/8" exposing to the surface of the water, and 7/8 of them contain and do not reveal, this leaves a great interpretation space for the readers.
On the whole, the results show that, at the lexical level, the degree of simplification of Wu's translation is stronger than that of Zhao, and the degree of explicit translation of Zhao is more than that of Wu translation. At the sentence level, Zhao translation is simpler and more explicit than Wu Yiqiang. At the level of text, the degree of standardization is less than Wu Yiqiang and Wu translation at the level of words and literal translation to a certain extent. The stylistic style of the text and the translation of Wu's translation are limited to the form of the machine. The weak normalization of the language makes the translation shy and difficult to understand, the degree of explicit expression is not enough, and the expression is not clear enough, and the translation of Zhao is stronger in these directions than the translation of Wu. Zhao Yi does not excessively adhere to the original words and sentences, and emphasizes the transmission of thoughts and feelings behind the words and sentences, and the translation is more translated. Hemingway's style can be reproduced with accuracy and closer to the original nature of the original. Zhao translation follows the spoken language of Hemingway. In language, the language is based on Putonghua, using a few adjectives, using a lot of verbs, the comparison of spoken language, and the formation of a distinctive translation language in the suitable northern dialect, in the language. The language of dialogue and description, whether it is dialogic monologue or narrative description, can achieve both simplicity and taste, more free translation, the realization of "functional equivalence", the retention of the original feature, and the proper translation of the cultural features of the original text: Wu translation only pays more attention to the imitation of the words and sentences, more direct translation is used, but the content of the original is retained, but the content of the original is retained, but the content of the original is retained, but the content of the original is retained. It is the lack of concise language, or the wrong understanding of the wrong translation sentence, not more than half a step, but not similar to the original style, resulting in a rigid style of writing, only the surface of the "content equivalence" and ignore the "divine like" that "formal equivalence", sometimes to achieve "formal equivalence" in the content of the lack of content, so that To some extent, the translation has lost the style of Hemingway's works. At the same time, the naturalization and translation of foreign words makes the foreign culture lose. In the final analysis, the good or bad of the translation depends on whether the translator has profound language and literary accomplishment, the study and deep understanding of Hemingway's works and styles, and the profound language text of the translator Zhao Shaowei. The translator's task is to reappear the foreign cultural atmosphere in the original work as close as possible to the reader and to meet the different aesthetic needs of reading the national works. So Zhao translation meets the needs of the reader to a greater extent. Ask.
Through the above experiments, it is proved that style translation is possible. Zhao Yi realizes the translation of Hemingway style while realizing functional equivalence. Corpus assisted research helps to find the defects of pure qualitative research, and provides a powerful proof for the conclusion. The guiding value.
【學位授予單位】：吉林大學
【學位級別】：碩士
【學位授予年份】：2009
【分類號】：I046;H315.9

【共引文獻】

相關期刊論文 前10條

1 朱亞蘭;;“美國夢”的追尋與幻滅——安德森的《雞蛋》主題評析[J];阿壩師范高等�？茖W校學報;2006年04期

2 梁艷;;翻譯中的歸化與異化之爭及其融合[J];阿壩師范高等�？茖W校學報;2007年01期

3 程永生;描寫與交際——我國現(xiàn)代翻譯理論研究的兩大主題[J];安徽大學學報;2003年01期

4 任合生;文明與野蠻——論西方的戰(zhàn)爭文學[J];安徽教育學院學報;2003年05期

5 李志英;異化、歸化的理據(jù)與層面[J];安徽廣播電視大學學報;2005年03期

6 王品;;文學文體學視閾下的《雪夜林邊駐腳》[J];安徽廣播電視大學學報;2010年02期

7 鄭玲;從目的論看漢英翻譯中的文化傳輸——兼評《京華煙云》中的翻譯策略[J];安徽電子信息職業(yè)技術學院學報;2005年02期

8 夏s，

本文編號：2052055