【摘要】：《中國(guó)佬》是美籍華裔作家湯亭亭的一部跨文化的敘事作品，自1980年出版以來便受到廣泛關(guān)注，并被譯為了中文和日文。其中，中文有三個(gè)版本：1980年由臺(tái)北皇冠出版社出版的《杜鵑休向耳邊啼》（又名《金山勇士》）以及分別于1985年和2000年由內(nèi)地出版的《金山華人》和《中國(guó)佬》。這部有關(guān)中國(guó)題材的作品，成為了西方世界的熱門暢銷書，卻在返回中國(guó)時(shí)遭到了國(guó)內(nèi)讀者的冷遇。對(duì)于《中國(guó)佬》這樣一部以女性自傳性的口吻講述族裔男性歷史故事并以華裔身份再次構(gòu)筑中國(guó)文化的著作，無(wú)論是其英文版還是中文版都是非常值得關(guān)注和研究的。三部中譯本中:臺(tái)北版已絕版；李美華譯本《金山華人》由于時(shí)間較為久遠(yuǎn)，其用語(yǔ)習(xí)慣與今有所不同，并且譯本中關(guān)于歷史、宗教、典故等較難理解的部分出現(xiàn)了一些偏差；肖鎖章譯本《中國(guó)佬》與現(xiàn)代語(yǔ)言較為貼近，是現(xiàn)階段較為流行的版本。因此，本文將采用肖鎖章的中譯本《中國(guó)佬》作為研究對(duì)象，以文學(xué)變異學(xué)為理論基礎(chǔ)并結(jié)合后殖民翻譯理論來探討翻譯過程中的變異現(xiàn)象及其變異背后的文化動(dòng)因。 本文中的變異主要是指譯者在翻譯過程中由于受到各種內(nèi)部和外部因素的影響對(duì)原文中的人物形象、語(yǔ)言及風(fēng)俗文化的更改，誤讀，美學(xué)再現(xiàn)，升華，扭曲和偏差等現(xiàn)象。第一章從楔子中的神話小故事和正文中的現(xiàn)代故事兩條主線來探討原文和譯文文本中中國(guó)男性形象的變異，其中現(xiàn)代故事部分選取了文化特定詞的誤讀現(xiàn)象和詩(shī)歌的變異現(xiàn)象兩方面來進(jìn)行分析。第二章分為華人會(huì)話中撇腳的英文和語(yǔ)用話語(yǔ)、習(xí)語(yǔ)中的文化元素和帶有前景化特征的詞匯三方面來深入解析譯本中語(yǔ)言層面的變異現(xiàn)象。第三章從中國(guó)風(fēng)俗文化入手，對(duì)其中的民族標(biāo)記和“說故事”的敘事策略展開了討論，其中民族標(biāo)志重點(diǎn)關(guān)注了稱呼語(yǔ)、婚葬儀式以及迷信觀念等傳統(tǒng)風(fēng)俗。通過分析發(fā)現(xiàn)，由于語(yǔ)言、文化和思想的差異，，譯者對(duì)原文基本采用歸化的翻譯策略，從而引發(fā)原文中形象、語(yǔ)言和文化的失落和變形，導(dǎo)致原文在翻譯過程中發(fā)生了變異。這種變異一是體現(xiàn)了譯者的解殖民化意識(shí)，二是抹掉了原文本中的東方主義色彩。 經(jīng)過以上分析討論，本文所得結(jié)論如下：對(duì)于跨文化的敘事作品來說，不同的文化身份在翻譯中發(fā)生碰撞、協(xié)商和爭(zhēng)斗，在這個(gè)過程中出現(xiàn)了“解殖民化”和“東方主義”色彩被抹掉等現(xiàn)象，其必然結(jié)果是翻譯過程中文本的變異。通過透視美籍華裔作家的雙重文化身份和變形背后的文化動(dòng)因，本文希望能在以下方面做出一定的貢獻(xiàn)：一、希望通過對(duì)翻譯變異的研究從另一個(gè)角度觀察翻譯活動(dòng)的規(guī)律；二、希望本文能對(duì)曹順慶的文學(xué)變異學(xué)文本化并豐富華裔文學(xué)中以文本為中心的翻譯研究；三、希望本文能為當(dāng)代華裔文學(xué)如何恰當(dāng)?shù)貍鞑サ街袊?guó)以及具有雙重文化特性的變形能否走向世界提供一些思考。
[Abstract]:Chinese American writer Kingston is a cross-cultural narrative, published in 1980, has received widespread attention, and has been translated into Chinese and Japanese. Among them, there are three editions in Chinese: "cuckoo", published by Taipei Crown Publishing House in 1980, "Don't keep crying in my ear" (also known as "Golden Mountain Warrior") and "Jinshan Chinese" and "Chinaman" published in China in 1985 and 2000 respectively. The Chinese-themed book became a popular bestseller in the West, but was greeted by domestic readers when it returned to China. For the book "Chinatown", which tells the historical story of ethnic male in the female autobiographical tone and reconstructs Chinese culture as Chinese, it is worth paying attention to and studying whether it is in English version or in Chinese version. Among the three Chinese versions, the Taipei edition is out of print; Li Meihua's version Jinshan Chinese is different from the present because of its long time, and there are some deviations in the difficult parts of the translation, such as history, religion, allusions, etc. Xiao Zhang's translation Chinaman is more close to modern language and is a popular version at the present stage. Therefore, this thesis will take Xiao Zhang's Chinese translation, "Chinaman", as the object of study, based on the theory of literary variation and combined with post-colonial translation theory, to explore the phenomenon of variation in translation process and the cultural reasons behind it. The variation in this paper mainly refers to the translation process in which the translator is influenced by various internal and external factors on the characters, language, customs and culture of the original text, misreading, aesthetic reproduction, sublimation, distortion and deviation, and so on. The first chapter discusses the variation of the Chinese male image in the original text and the translated text from the two main lines of the fairy tale in the wedge and the modern story in the text. In the part of modern story, two aspects are selected to analyze the misreading phenomenon of cultural specific words and the variation of poetry. The second chapter is divided into three parts: English and pragmatic discourse in Chinese conversation, cultural elements in idioms and words with foregrounding features to analyze the linguistic variation in the translation. The third chapter begins with the Chinese customs and culture, and discusses the national symbols and narrative strategies of "telling stories", in which the national symbols focus on traditional customs such as address, marriage and burial ceremonies, superstition and so on. Through the analysis, it is found that due to the differences of language, culture and thought, the translator basically adopts a domesticated translation strategy for the original text, which leads to the loss and distortion of the image, language and culture in the original text, which leads to the variation of the original text in the process of translation. This variation reflects the translator's sense of decolonization and erases the orientalism in the original text. After the above analysis and discussion, the conclusions are as follows: for cross-cultural narrative works, different cultural identities collide, negotiate and fight in translation. In this process, the phenomena of "decolonisation" and "Orientalism" are erased, and the inevitable result is the variation of the Chinese text in the process of translation. Through the perspective of the dual cultural identity of Chinese-American writers and the cultural motivation behind the transformation, this paper hopes to make some contributions in the following aspects: first, the author hopes to observe the law of translation activities from another angle through the study of translation variation; Secondly, it is hoped that this thesis can enrich the text-centered translation study of Cao Shunqing's literary variation and enrich the text-centered translation studies in Chinese literature. Third, I hope this paper can provide some thoughts on how to spread the contemporary Chinese literature to China and whether the transformation with dual cultural characteristics can go to the world.
【學(xué)位授予單位】：四川外語(yǔ)學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2012
【分類號(hào)】：I712.074;H315.9

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