本文選題：《雙城記》 + 語料庫翻譯研究��； 參考：《徐州師范大學》2011年碩士論文

【摘要】：A Tale of Two Cities是19世紀英國現實主義文學最杰出的代表查爾斯·狄更斯的優(yōu)秀代表作之一。本研究選取該小說的17個全譯本(不包括兒童讀本、英漢對照和編譯、節(jié)譯等在內)建立其語料庫,并根據現當代中國翻譯史,將它們歸入四個歷史時期。在語料庫軟件的輔助下,通過對譯本所在時期的操作規(guī)范進行定量描寫和定性分析,首先重構八、九十年代譯者翻譯過程中所遵循的翻譯“規(guī)范”,然后以描寫重構的“規(guī)范”為衡量標準,重點研究《雙城記》三個代表性譯本譯者的創(chuàng)造性叛逆行為。 本研究具體回答以下兩個研究問題:1)小說A Tale of Two Cities在二十世紀八十至九十年代的翻譯規(guī)范是什么?2)在張玲和張揚、宋兆霖和姚暨榮以及孫法理翻譯的三個譯本中,譯者展示了怎樣的創(chuàng)造性叛逆行為? 本研究發(fā)現: (1)與第二、第三個時期相比,《雙城記》第四個時期(八、九十年代)的漢譯本所體現出的翻譯規(guī)范最接近于譯語的語言規(guī)范。具體來看,在詞匯層面上,第四個時期的譯本詞匯的變化性最大,翻譯語言更加豐富多彩;這個時期的虛詞比率最低,實詞比率最高,譯本所含的信息量最大;在語法層面上,第四個時期譯本的平均句長最短,譯者傾向于使用簡短的句子;定語修飾語以及復合句的數量最少,關聯詞的種類豐富,變化也最大,總之第四個時期的譯本傾向于意合,表現出向目的語語言規(guī)范回歸的傾向。而第二個時期譯本的翻譯特點與第四個時期正好相反,譯本表現出翻譯行為的簡略化、明確化和歐化,趨向于形合并遵循源語的語言規(guī)范。第三個時期譯本的特點介于兩者之間。總的來說,三個時期譯本的翻譯規(guī)范由傾向源語語言規(guī)范逐漸向譯語語言規(guī)范轉變。 (2)在相同歷史時期翻譯規(guī)范的背景下,研究選取三個著名的譯本,從語言和文化方面考察譯者的創(chuàng)造性叛逆。每個譯者都是以自己對小說的認識去理解原文,并用自己的語言去再現原文的意思。張玲和張揚的創(chuàng)造性叛逆顯著。從語言運用的角度說,譯者的表達與其它兩個譯本有很大的區(qū)別,譯本的語言表現出了對譯語文化與傳統(tǒng)的創(chuàng)造性叛逆。為了突出強烈的表達效果,譯者運用反譯法;為了表現語言的流暢與節(jié)奏感,譯者運用詩歌的形式翻譯習語。在語言形式方面,譯本主要遵從原文的形式;在文化的傳承上,譯者保留了源語的文化意象。譯本最大的翻譯特點是通過創(chuàng)造性叛逆達到交流的目的,用生動的語言,豐富的想象,準確地再現原文的深層含義。 宋兆霖和姚暨榮的譯本以不同的表現形式體現譯者的主觀創(chuàng)造性。譯者以自己對小說的認識去理解原文,用自己的語言淋漓盡致地再現了原文的意圖。為了突顯小說人物的悲慘經歷,譯者創(chuàng)造性地添加程度副詞,以達到增強語氣的效果;譯者放棄原文的書信格式,以讀者熟識的形式翻譯小說。本著傳達原汁原味異土風情的原則的同時,旨在使讀者產生感同身受的共鳴。 與前兩個譯本相比,孫法理譯本中創(chuàng)造性叛逆的表現也頗多。在詞匯層面,他多次運用略顯過時的詞語來表達特定的含義;運用創(chuàng)造性叛逆的語言打破源語語言形式的束縛;通過靈活多變的翻譯技巧,減輕讀者的閱讀負擔。譯文中最成功的創(chuàng)造性叛逆體現在對諺語“入鄉(xiāng)隨俗”的翻譯上,譯者創(chuàng)造了一個全新的文化意象,令人耳目一新。在充分表現原文豐采的同時,兼顧譯入語文化讀者的可接受性,注重讀者的理解。 在此分析與討論的基礎上,回答了兩個研究問題。研究通過自建《雙城記》漢譯本的語料庫,利用描寫翻譯學的理論,描述八、九十年代譯本所體現的翻譯共性,即翻譯規(guī)范;再選取其中三個著名譯本,在譯者自身擁有不同“先知、前有”,產生各具特色譯文的基礎上,分析譯者翻譯的創(chuàng)造性叛逆,從而揭示譯者的翻譯過程中體現的翻譯規(guī)范,但又不是簡單地遵循時代的翻譯規(guī)范,而是翻譯規(guī)范與譯者的創(chuàng)造性叛逆共存。
[Abstract]:A Tale of Two Cities is one of the outstanding representative works of Charles Dickens, the most outstanding representative of British realistic literature in the nineteenth Century. This study selected the 17 full versions of the novel (excluding children's books, English and Chinese contrast and compilation, translation, etc.) to establish their corpus, and put them into the history of contemporary Chinese translation, and put them into the four calendar. In the history of history, with the assistance of corpus software, by quantitative and qualitative analysis of the operational norms of the period of the translation, the "norms" of the translation of the eight and 90s translators were restructured, and then the "norms" described in the description of the reconfiguration were measured as the criteria, and the three representative translators in the Shuangcheng record were studied. Creative treason.
This study answers the following two research questions: 1) what are the translation norms of the novel A Tale of Two Cities from eighty to 90s twentieth Century? 2) in the three translations of Zhang Ling and Zhang Yang, Song Zhaolin and Yao Jirong and sun French translation, what kind of creative treason did the translators show?
This study found that:
(1) compared with the second and third periods, the translation norms embodied in the fourth periods of the Shuangcheng record (eight, 90s) are most closely related to the language norms of the target language. Specifically, at the lexical level, the translation of the translated words in the fourth periods is the most varied and the translation language more colorful; the ratio of the function words is the lowest at this time. At the grammatical level, the average sentence length of the fourth versions is the shortest, the translator tends to use short sentences, the number of the attributive modifier and the compound sentence is the least, the types of Related words are rich and the change is the biggest. The translation of the total fourth periods tends to parataxis, showing the direction to the target. The translation characteristics of the second periods are the opposite of the fourth periods. The translation shows the simplification, clarification and Europeanization of the translation behavior, and the tendency to merge into the language norms of the source language. The characteristics of the third versions of the translation are between the two. In general, the translation of the translation of the three periods. Norms are gradually changed from the standard of source language to the standard of target language.
(2) in the context of the same historical period, three famous translations are selected to examine the creative treason of the translators from language and culture. Each translator is to understand the original text with his own understanding of the novel and reappear the meaning of the original text in his own language. Zhang Ling and Zhang Yang's creative treason is significant. From the point of view, the translator's expression is very different from the other two versions. The translated language shows the creative treason of the culture and tradition of the target language. In order to highlight the strong expression effect, the translator uses the anti translation method; in order to express the fluency and rhythm of the language, the translator translates idioms in the form of poetry. The translation is mainly in the form of the original text; in the inheritance of culture, the translator has retained the cultural image of the source language. The greatest translation characteristic of the translation is to achieve the purpose of communication through creative treason, and to reproduce the deep meaning of the original text with vivid language and rich imagination.
The translator of Song Zhaolin and Yao Jirong embodies the translator's subjective creativity in different forms. The translator reproduces the original intention by his own understanding of the novel and his own language. In order to highlight the tragic experiences of the characters, the translator creatively adds the degree adverb to achieve the effect of the tone of the translator. The translator gives up the form of the original letter and translates the novel in the form of the reader's acquaintance. In the light of the principle of conveying the original flavor of the original exotic soil, the purpose of the translator is to make the reader resonate with the feeling.
Compared with the previous two versions, there are also many creative treason in sun French translation. At the lexical level, he uses a few words to express specific meaning; he uses the language of creative treason to break the bondage of the source language, and reduces the reader's reading burden through flexible translation techniques. The most successful translation is in the translation. The creative treason is reflected in the translation of the proverb "to the Romans and the Romans". The translator has created a new cultural image, which is a new and fresh expression. At the same time, it takes full attention to the acceptability of the readers of the target language and pays attention to the reader's understanding.
On the basis of this analysis and discussion, two research questions are answered. By using the corpus of the self construction of "Shuangcheng" and Chinese translation, the author uses the theory of descriptive translation to describe the commonality of translation in the eight and 90s versions, that is, the norms of translation, and then select three of the famous translations, and the translators own the different "prophets, before", and the translators themselves. On the basis of each characteristic translation, the translator's creative treason is analyzed to reveal the translation norms embodied in the translator's translation, but it does not simply follow the norms of the times, but the coexistence of the translators' creative treason and the translator's creative treason.
【學位授予單位】：徐州師范大學
【學位級別】：碩士
【學位授予年份】：2011
【分類號】：H315.9;I046

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