《小熊維尼阿噗》兩漢譯本童趣現(xiàn)象順應(yīng)性對(duì)比研究
發(fā)布時(shí)間：2019-06-19 18:47
【摘要】：本文從Jef Verschueren的順應(yīng)論出發(fā),以《小熊維尼阿噗》的兩個(gè)中譯本為例分析譯者如何再現(xiàn)原文“童趣”。Milne創(chuàng)作的《小熊維尼阿噗》是一部?jī)?yōu)秀的兒童文學(xué)作品,講述了維尼熊阿噗和他的好朋友們發(fā)生在百畝森林里的一系列有趣又有愛的小故事。作品風(fēng)靡一時(shí),語言簡(jiǎn)練幽默,有大量的修辭手法及感嘆詞等。如何順應(yīng)原文語言風(fēng)格成為譯者最大的挑戰(zhàn)。Verschueren認(rèn)為語言的使用是一個(gè)不斷選擇的過程,語言的商討性、變異性及順應(yīng)性使語言使用者的選擇和順應(yīng)成為可能。翻譯作為兩種文化交流的媒介,同樣離不開選擇和順應(yīng)。譯者在翻譯兒童文學(xué)時(shí)尤其要注意兒童語言特征,順應(yīng)原文風(fēng)格的同時(shí)重現(xiàn)源語童趣。本文以順應(yīng)論為框架,著重從語言結(jié)構(gòu)順應(yīng)、語境關(guān)聯(lián)成分順應(yīng)、動(dòng)態(tài)順應(yīng)、意識(shí)突顯性四個(gè)方面分析不同譯者在翻譯《小熊維尼阿噗》過程中的選擇順應(yīng)傾向。在語境關(guān)聯(lián)成分順應(yīng)方面,從社會(huì)規(guī)范,文化和指示方面對(duì)比譯者的選擇傾向性差異;在語言結(jié)構(gòu)順應(yīng)方面,借助了語料庫手段,用量化手法從語音、詞匯和句子層面上對(duì)比兩譯者語言順應(yīng)差異;在動(dòng)態(tài)順應(yīng)方面,則從不同譯者的社會(huì)背景和個(gè)人心理方面對(duì)比不同譯者的選擇與順應(yīng)。在意識(shí)突顯性方面,從譯者意識(shí)參與度對(duì)比研究造成譯作差異的原因。通過對(duì)比分析,得出以下結(jié)論:在語言結(jié)構(gòu)方面,盧譯本注重順應(yīng)原文語言結(jié)構(gòu),而李譯本為迎合目標(biāo)語讀者,更傾向于童趣的再現(xiàn);在上下文語境方面,盧曉順應(yīng)原文語言語境,大量使用連詞,雖然不符合中文習(xí)慣,但是能清晰的反應(yīng)事件發(fā)展前后順序,有利于兒童理解文章;李譯本為順應(yīng)目標(biāo)語讀者的交際語境對(duì)著原文稍作調(diào)整,四字成語、諺語等的使用符合中國兒童審美意識(shí)和審美情趣,體現(xiàn)出原文的英式童趣;在動(dòng)態(tài)順應(yīng)方面,盧譯本考慮到當(dāng)下中外交流日益頻繁,兒童視野拓寬,因此使用異化手法保留原文韻味。相比而言李譯本的作品因沒有順應(yīng)當(dāng)下兒童語言發(fā)展趨勢(shì)而略顯古板;在意識(shí)突顯性方面,譯者的意識(shí)突顯程度影響擇詞和順應(yīng),李譯本為順應(yīng)目標(biāo)語讀者的審美,保持童心,發(fā)現(xiàn)童趣,將英式童趣轉(zhuǎn)換為中式童趣,對(duì)原文修改較多,意識(shí)突顯性強(qiáng);而盧曉更加忠實(shí)原文語言結(jié)構(gòu),意識(shí)參與度低。通過對(duì)比兩譯本發(fā)現(xiàn)譯者要順應(yīng)目標(biāo)語兒童讀者的語言特點(diǎn),適當(dāng)脫離原文語言結(jié)構(gòu),注重對(duì)原文童趣的順應(yīng),使用淺顯易懂的語言,注重“神似”而非“形似”,多使用擬聲詞、疊詞、重復(fù)和韻腳等符合兒童音樂欣賞的詞,盡量避免使用長(zhǎng)句,創(chuàng)造兒童“樂”于接受的形式。
[Abstract]:Based on Jef Verschueren's adaptation theory, this paper analyzes how the translator reproduces the original "childlike interest" by taking two Chinese versions of Winnie Poofu, the little bear, as an example. Milne's "Winnie Poof" is an excellent work of children's literature, which tells a series of interesting and loving short stories in which Winnie Xiapu and his good friends occurred in a hundred mu forest. Works are popular for a while, concise and humorous, with a large number of rhetorical devices and exclamations. How to adapt to the original language style has become the biggest challenge for translators. Verschueren believes that the use of language is a process of continuous selection, and the negotiation, variability and adaptability of language make it possible for language users to choose and adapt. Translation, as the medium of communication between the two cultures, can not be separated from choice and adaptation. When translating children's literature, translators should pay special attention to children's linguistic features and reproduce the children's interest of the source language while conforming to the original style. Based on the adaptation theory, this paper focuses on the adaptation tendency of different translators in the process of translating Winnie Poof from four aspects: linguistic structure adaptation, contextual relevance adaptation, dynamic adaptation and consciousness salience. In the aspect of contextual adaptation, this paper compares the translator's choice orientation from the aspects of social norms, culture and deixis; in the aspect of linguistic structural adaptation, with the help of corpus, compares the differences in linguistic adaptation between the two translators quantitatively from the phonetic, lexical and sentence levels; and in the aspect of dynamic adaptation, compares the choices and adaptations of different translators from different translators' social background and personal psychology. In the aspect of consciousness salience, this paper makes a contrastive study of the reasons for the differences in translation texts from the perspective of translator's consciousness participation. Through contrastive analysis, the following conclusions are drawn: in the aspect of language structure, Lu's translation pays attention to the adaptation of the original language structure, while Li's translation is more inclined to the reproduction of children's interest in order to cater to the target language readers. In the contextual context, Lu Xiaoshun uses a large number of conjunctions in the original language context, although it is not in line with Chinese habits, but can clearly respond to the sequence of events before and after the development, which is conducive to children's understanding of the article. In order to adapt to the communicative context of the target language readers, the use of four-character idioms and proverbs conforms to the aesthetic consciousness and aesthetic taste of Chinese children and reflects the British children's interest in the original text. In the aspect of dynamic adaptation, Lu's translation takes into account the increasing frequency of communication between China and foreign countries and the widening of children's horizons, so the alienation technique is used to retain the charm of the original text. In contrast, the works of Li's translation are slightly staid because they do not conform to the current trend of children's language development. In the aspect of consciousness salience, the translator's consciousness highlights affect the choice of words and adaptation. Li's translation is more faithful to the original language structure and has a low degree of consciousness participation in order to conform to the aesthetic appreciation of the target language readers, maintain childlike innocence, find that the British children's interest is transformed into Chinese children's interest, modify the original text more often, and have a strong consciousness of dominance, while Lu Xiao is more faithful to the original language structure and has a low degree of consciousness participation. By comparing the two versions, it is found that the translator should conform to the linguistic characteristics of the child readers of the target language, properly deviate from the original language structure, pay attention to the adaptation to the original children's interest, use a simple and understandable language, pay attention to "divine resemblance" rather than "form similarity", use onomatopoeia, overlapping words, repetition and rhyme, etc., to avoid the use of long sentences and create the acceptable form of children's "music".
【學(xué)位授予單位】：江蘇大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2016
【分類號(hào)】：H315.9;I046
本文編號(hào)：2502565
[Abstract]:Based on Jef Verschueren's adaptation theory, this paper analyzes how the translator reproduces the original "childlike interest" by taking two Chinese versions of Winnie Poofu, the little bear, as an example. Milne's "Winnie Poof" is an excellent work of children's literature, which tells a series of interesting and loving short stories in which Winnie Xiapu and his good friends occurred in a hundred mu forest. Works are popular for a while, concise and humorous, with a large number of rhetorical devices and exclamations. How to adapt to the original language style has become the biggest challenge for translators. Verschueren believes that the use of language is a process of continuous selection, and the negotiation, variability and adaptability of language make it possible for language users to choose and adapt. Translation, as the medium of communication between the two cultures, can not be separated from choice and adaptation. When translating children's literature, translators should pay special attention to children's linguistic features and reproduce the children's interest of the source language while conforming to the original style. Based on the adaptation theory, this paper focuses on the adaptation tendency of different translators in the process of translating Winnie Poof from four aspects: linguistic structure adaptation, contextual relevance adaptation, dynamic adaptation and consciousness salience. In the aspect of contextual adaptation, this paper compares the translator's choice orientation from the aspects of social norms, culture and deixis; in the aspect of linguistic structural adaptation, with the help of corpus, compares the differences in linguistic adaptation between the two translators quantitatively from the phonetic, lexical and sentence levels; and in the aspect of dynamic adaptation, compares the choices and adaptations of different translators from different translators' social background and personal psychology. In the aspect of consciousness salience, this paper makes a contrastive study of the reasons for the differences in translation texts from the perspective of translator's consciousness participation. Through contrastive analysis, the following conclusions are drawn: in the aspect of language structure, Lu's translation pays attention to the adaptation of the original language structure, while Li's translation is more inclined to the reproduction of children's interest in order to cater to the target language readers. In the contextual context, Lu Xiaoshun uses a large number of conjunctions in the original language context, although it is not in line with Chinese habits, but can clearly respond to the sequence of events before and after the development, which is conducive to children's understanding of the article. In order to adapt to the communicative context of the target language readers, the use of four-character idioms and proverbs conforms to the aesthetic consciousness and aesthetic taste of Chinese children and reflects the British children's interest in the original text. In the aspect of dynamic adaptation, Lu's translation takes into account the increasing frequency of communication between China and foreign countries and the widening of children's horizons, so the alienation technique is used to retain the charm of the original text. In contrast, the works of Li's translation are slightly staid because they do not conform to the current trend of children's language development. In the aspect of consciousness salience, the translator's consciousness highlights affect the choice of words and adaptation. Li's translation is more faithful to the original language structure and has a low degree of consciousness participation in order to conform to the aesthetic appreciation of the target language readers, maintain childlike innocence, find that the British children's interest is transformed into Chinese children's interest, modify the original text more often, and have a strong consciousness of dominance, while Lu Xiao is more faithful to the original language structure and has a low degree of consciousness participation. By comparing the two versions, it is found that the translator should conform to the linguistic characteristics of the child readers of the target language, properly deviate from the original language structure, pay attention to the adaptation to the original children's interest, use a simple and understandable language, pay attention to "divine resemblance" rather than "form similarity", use onomatopoeia, overlapping words, repetition and rhyme, etc., to avoid the use of long sentences and create the acceptable form of children's "music".
【學(xué)位授予單位】：江蘇大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2016
【分類號(hào)】：H315.9;I046
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