本文選題：文體 + 角度　； 參考：《中國人民解放軍外國語學(xué)院》2004年碩士論文

【摘要】： 人物引語是小說的重要組成部分。在柏拉圖的“共和國”第三卷中，蘇格拉底區(qū)分了“摹仿”和“講述”這兩種方式，“摹仿”即直接展示人物話語；“講述”則是詩人用自己的言詞來轉(zhuǎn)述人物的話語。這大致相當(dāng)于后來的直接引語和間接引語之分�？梢娙宋镆Z在文學(xué)理論中的淵源。人物的話語和思想歷來得到很多作家重視，用來塑造人物，推動(dòng)情節(jié)發(fā)展。在現(xiàn)代文學(xué)中，人物話語的不同表達(dá)方式是小說特有的藝術(shù)形式。在小說中，人物的話語由處于另一時(shí)空中的敘述者轉(zhuǎn)述給讀者。敘述者或者原原本本地引述人物言辭，或者概要轉(zhuǎn)述人物話語的內(nèi)容，或者用引號(hào)，或者省略引號(hào)，或者在人物話語前面加上引述句，或者省略引述句，如此等等。這種對(duì)人物語言進(jìn)行的“編輯”或“加工”，顯然是小說特有的。 本文從文學(xué)文體學(xué)角度對(duì)小說引語翻譯進(jìn)行研究。作為文體學(xué)的一個(gè)重要分支，文學(xué)文體學(xué)運(yùn)用現(xiàn)代語言學(xué)的理論和方法，集中探討作者如何通過對(duì)語言特征的選擇來表達(dá)和加強(qiáng)主題意義和美學(xué)效果。文學(xué)作品的特點(diǎn)是具有審美或詩學(xué)功能，因而文學(xué)翻譯不僅強(qiáng)調(diào)譯出原文的內(nèi)容，更強(qiáng)調(diào)傳達(dá)原文文學(xué)語言形式的價(jià)值。文學(xué)文體學(xué)應(yīng)用于小說翻譯研究，可以幫助譯者更好地把握小說中的語言成分尤其是語言形式的美學(xué)功能和文體價(jià)值，促使譯者在實(shí)踐中注重各種文體手段，注重形式與內(nèi)容之間的交互作用，使用文體功能等值的語言成分，以保留原文的主題意義 和美學(xué)價(jià)值。小說人物話語的表達(dá)方式是作者用以調(diào)整敘述干預(yù) 和敘述距離，控制感情色彩及語氣的重要工具。同樣的人物話語 采用不同的表達(dá)方式，比如直接引語、間接引語、自由間接引語 等等，就會(huì)產(chǎn)生不同的文體功能，達(dá)到不同的主題意義和美學(xué)效 果�？梢哉f，人物話語的方式與人物話語的表達(dá)之間的關(guān)系是形 式與內(nèi)容的關(guān)系。為了準(zhǔn)確而完整地傳達(dá)原語小說中的人物引語 的主題意義和美學(xué)效果，從文學(xué)文體學(xué)角度對(duì)小說引語翻譯作一 研究顯然是必要的。 對(duì)英語小說人物引語的理論研究詳盡而豐富。從Shlomith Rin飛nlon一Kena，1到Ann Banfield再到Monika Fludemik，學(xué)者們 從敘事學(xué)、語言學(xué)等各個(gè)角度對(duì)引語提出了不同的看法。在定義 上，本文采用Leec樹Short的方法，將英語小說中的引語形式按敘 述千預(yù)程度不同和敘事距離的遠(yuǎn)近，劃分為五種類型:言語行為 敘述體、間接引語、自由間接引語、直接引語和自由直接引語。 言語行為敘述體敘述干預(yù)最重、敘述距離最遠(yuǎn);自由直接引語敘 述干預(yù)最輕，敘述距離最近。這些引語類型的不同語言形式反映 了不同的文體功能、美學(xué)價(jià)值和主題意義:言語行為敘述體使敘 述者行使最大的干預(yù)，，同時(shí)大大加寬了敘事距離;間接引語可以 采取不同程度的帶有人物話語特色的形式，實(shí)現(xiàn)不同程度的敘述 干預(yù)，它使話語顯得較為平暗，襯托出直接話語;自由間接引語 能有效地表達(dá)諷束」或詼諧的效果，也能增強(qiáng)對(duì)人物的同情感，還 能增加語意密度;直接引語有直接性與生動(dòng)性，通過人物的特定 話語塑造人物性格，它帶有引導(dǎo)句和引號(hào)，往往產(chǎn)生音響效果; 自由直接引語使讀者在無任何準(zhǔn)備的情況下，直接接觸人物的 “原話”，使敘述流更順暢地向前發(fā)展，同時(shí)自由直接引語最適 于表達(dá)人物潛意識(shí)的心理活動(dòng)。 在人物引語翻譯研究中，本文引入了申丹的“假象等值”概 念，即譯文與原文看上去大致相同，但文學(xué)價(jià)值與文學(xué)意義相去 甚遠(yuǎn)。(申丹，2002:11)翻譯小說時(shí)，譯者往往將對(duì)等建立在 “可意譯的物質(zhì)內(nèi)容”(Bassnette一MeGuire，1995:23:申丹，2002: 11)上，忽略語言形式本身的文學(xué)意義、將是否傳遞了同樣的內(nèi) 容作為等值的標(biāo)準(zhǔn)，這樣拄往造成假象等值。為了避免假象等值， 獲得表達(dá)內(nèi)容、形式上等值的美學(xué)效果，譯者應(yīng)該把握原文中語 言形式與意義的有機(jī)聯(lián)系，采取相應(yīng)的翻譯策略，著眼于功能對(duì) 等或“相同表達(dá)”，用譯語中相同或不同的語言手段來獲得與原 文相同的文體效果，即“文體成分替換”。 要做好小說人物引語的翻譯，譯者顯然必須具備以下兩方面 的能力:一是以其關(guān)聯(lián)著的不同的主題意義和美學(xué)效果為指針， 在原文和譯文中區(qū)分各種引語類別之間的形式差別，并在原、譯 語諸引語形式類別之間尋求建立一般及特定的對(duì)應(yīng)的能力;二是 把握在原、譯語兩種文學(xué)表達(dá)傳統(tǒng)中，小說人物引語獨(dú)特的言語 變體形式，包括言語的社會(huì)變體和地域變體的文體功能，即其與 人物性格、身份和主題意義之間的聯(lián)系，并在兩種文學(xué)的相應(yīng)個(gè) 人言語變體之間建立一般及特定的對(duì)應(yīng)的能力。上述兩方面缺一 不可，如果譯者在其中任何一方面有所欠缺，都會(huì)導(dǎo)致在引語翻 譯上的假象等值。 為了在小說引語的英漢翻譯中克服假象等值，實(shí)施“文體成 分替換”的策略，譯者應(yīng)充分了解人物引語的形式特征及引語中 的個(gè)人言語變體的主題意義和美學(xué)功能，在漢語中尋找與其功能 相應(yīng)的引語語言形式并進(jìn)行替換。通過對(duì)翻譯作品的研究發(fā)現(xiàn)， 在翻譯中言語行為敘述體和間接引語、自由間接引語和敘述者話 語、自由間接引語和“并列”的間接引語之間存在著易混淆的現(xiàn)
[Abstract]:In the third volume of Plato ' s Republic , Socrates distinguishes between " imitation " and " telling " .
In modern literature , the words and ideas of characters have been paid much attention by many writers to shape the characters and promote the development of the plot . In modern literature , the discourse of the characters is transferred to the reader by the narrators in another time .









In this paper , the author studies the translation of the novel from the point of view of literature and literature . As an important branch of the study of literature , the author focuses on how to express and strengthen the subject ' s meaning and aesthetic effect through the selection of linguistic features .



















The expression of a novel person ' s words is to adjust the narrative intervention .









An important tool for distance , control , color , and tone .









Uses different expressions such as direct quotation , indirect quotation , free indirect quotation









and so on , different stylistic functions can be generated , and different themes and aesthetic effects can be achieved .









Fruit . It can be said that the relationship between the man ' s words and the expression of the characters is in the form of a figure









The relationship between the type and the content . To convey the characters in the original text accurately and completely .









The theme and the aesthetic effect of the novel from the point of view of literature and literature









it is clear that the study is necessary .









The theoretical study of the introduction of characters in English novels is detailed and rich . From Shlomith









Rin fly nlon a Kena , 1 to Ann Banfield to Monika Fluffy k , scholars









Different opinions are put forward from various angles such as narratology and linguistics .









In this paper , Leec tree Short ' s method is used to classify the quotation form in English novels .









The far - close relationship between the different and the narrative distance is divided into five types : speech act .









Narrative , indirect , free , indirect , direct and free .









The narrative of speech acts the heaviest , the furthest distance of the narrative , the free direct quotation









Most of the interventions are the lightest , the narrative distance is the most recent . The different language forms of these quoted types are reflected









Different stylistic functions , aesthetic values and subject significance : the narrative of speech acts









the person exercises the greatest interference while greatly widening the narrative distance ; the indirect quotation can









different degrees of narration are realized by adopting different forms with characters and discourse characteristics









Intervention , it makes the discourse more flat and dark , lining up the direct discourse ; free indirect quotation









can effectively express an irony or a humorous effect , can also enhance the same emotion to the person , and also









can increase the semantic density ; the direct quotation has the direct character and the initiative , through the person ' s specific









Discourse shaping character , it carries guiding sentence and quotation mark , often produces sound effect ;









Free direct quotation enables readers to directly contact persons without any preparation









" In - situ " , making the narrative flow more smoothly forward , while the free direct quotation is optimal



















a psychological activity that expresses the subconscious mind of a person .









In the study of discourse translation of characters , this paper introduces the " false contour " of Shen Dan .









The translation is almost the same as that of the original , but the value of literature and the significance of literature









Far from . ( Shen Dan , 2002 : 11 ) When translating novels , the translator tends to set up the peer









" Content of the substance that can be translated " ( Bassen - MeGuire , 1995 : 23 : Shen Dan , 2002 :









11 ) On the other hand , ignoring the literary meaning of the language form itself , it will whether or not it has passed the same token









As the standard of the equivalent value , this can cause the pseudo - image equivalent value . In order to avoid the value of the false image ,









To obtain the aesthetic effect of expressing content , form and equivalent value , the translator should grasp the original text









The organic relation between the form and meaning of the words , the corresponding translation strategies should be adopted , focusing on the function pair









the same or " the same expression " , obtained by the same or different language means in the translation .









The text has the same stylistic effect , that is , " substitution of stylistic elements " .









It is clear that the translator must have the following two aspects :









ability : a pointer to the different subject and aesthetic effects associated with it ,









In the original text and the translation , distinguish the differences among the various kinds of quotation categories , and in the original , the translation









to seek the ability to establish general and specific correspondence among the categories of quotation forms ;









To grasp the unique words of the characters of the novel in the two literary expressions of the original and translated languages









Variant form , including the social variant of speech and the stylistic function of the geographical variation , that is , it









The relationship between personality , identity and subject matter , and in the corresponding ones of the two kinds of literature









The ability to establish general and specific correspondence between human speech variants .









No , if the translator is deficient in any one of them , it will lead to a turn - over









The imaginary equivalent of the translation .









In order to overcome the equivalence of the false image in the English - Chinese translation of the novel quotation , implement the " literary form " On the Strategy of " Replace " , the translator should fully understand the form characteristics and quotation of the characters ' quotation









The subject and aesthetic functions of personal speech variants in Chinese search for their function









Through the research and discovery of translated works ,



















A Narrative and Indirect Approach to Speech Acts in Translation ;









There is confusion between the indirect quotation of language , free indirect quotation and " parallel " .

【學(xué)位授予單位】：中國人民解放軍外國語學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2004
【分類號(hào)】：I046

【引證文獻(xiàn)】

相關(guān)期刊論文 前1條

1 倪敏;;敘事視角觀照下的林譯《大衛(wèi)·科波菲爾》[J];河北理工大學(xué)學(xué)報(bào)(社會(huì)科學(xué)版);2011年01期

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