本文選題：《雙城記》 + 語(yǔ)料庫(kù)翻譯研究��； 參考：《徐州師范大學(xué)》2011年碩士論文

【摘要】：A Tale of Two Cities是19世紀(jì)英國(guó)現(xiàn)實(shí)主義文學(xué)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(shuō)的17個(gè)全譯本(不包括兒童讀本、英漢對(duì)照和編譯、節(jié)譯等在內(nèi))建立其語(yǔ)料庫(kù),并根據(jù)現(xiàn)當(dāng)代中國(guó)翻譯史,將它們歸入四個(gè)歷史時(shí)期。在語(yǔ)料庫(kù)軟件的輔助下,通過(guò)對(duì)譯本所在時(shí)期的操作規(guī)范進(jìn)行定量描寫(xiě)和定性分析,首先重構(gòu)八、九十年代譯者翻譯過(guò)程中所遵循的翻譯“規(guī)范”,然后以描寫(xiě)重構(gòu)的“規(guī)范”為衡量標(biāo)準(zhǔn),重點(diǎn)研究《雙城記》三個(gè)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(gè)研究問(wèn)題:1)小說(shuō)A Tale of Two Cities在二十世紀(jì)八十至九十年代的翻譯規(guī)范是什么?2)在張玲和張揚(yáng)、宋兆霖和姚暨榮以及孫法理翻譯的三個(gè)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(xiàn): (1)與第二、第三個(gè)時(shí)期相比,《雙城記》第四個(gè)時(shí)期(八、九十年代)的漢譯本所體現(xiàn)出的翻譯規(guī)范最接近于譯語(yǔ)的語(yǔ)言規(guī)范。具體來(lái)看,在詞匯層面上,第四個(gè)時(shí)期的譯本詞匯的變化性最大,翻譯語(yǔ)言更加豐富多彩;這個(gè)時(shí)期的虛詞比率最低,實(shí)詞比率最高,譯本所含的信息量最大;在語(yǔ)法層面上,第四個(gè)時(shí)期譯本的平均句長(zhǎng)最短,譯者傾向于使用簡(jiǎn)短的句子;定語(yǔ)修飾語(yǔ)以及復(fù)合句的數(shù)量最少,關(guān)聯(lián)詞的種類(lèi)豐富,變化也最大,總之第四個(gè)時(shí)期的譯本傾向于意合,表現(xiàn)出向目的語(yǔ)語(yǔ)言規(guī)范回歸的傾向。而第二個(gè)時(shí)期譯本的翻譯特點(diǎn)與第四個(gè)時(shí)期正好相反,譯本表現(xiàn)出翻譯行為的簡(jiǎn)略化、明確化和歐化,趨向于形合并遵循源語(yǔ)的語(yǔ)言規(guī)范。第三個(gè)時(shí)期譯本的特點(diǎn)介于兩者之間�？偟膩�(lái)說(shuō),三個(gè)時(shí)期譯本的翻譯規(guī)范由傾向源語(yǔ)語(yǔ)言規(guī)范逐漸向譯語(yǔ)語(yǔ)言規(guī)范轉(zhuǎn)變。 (2)在相同歷史時(shí)期翻譯規(guī)范的背景下,研究選取三個(gè)著名的譯本,從語(yǔ)言和文化方面考察譯者的創(chuàng)造性叛逆。每個(gè)譯者都是以自己對(duì)小說(shuō)的認(rèn)識(shí)去理解原文,并用自己的語(yǔ)言去再現(xiàn)原文的意思。張玲和張揚(yáng)的創(chuàng)造性叛逆顯著。從語(yǔ)言運(yùn)用的角度說(shuō),譯者的表達(dá)與其它兩個(gè)譯本有很大的區(qū)別,譯本的語(yǔ)言表現(xiàn)出了對(duì)譯語(yǔ)文化與傳統(tǒng)的創(chuàng)造性叛逆。為了突出強(qiáng)烈的表達(dá)效果,譯者運(yùn)用反譯法;為了表現(xiàn)語(yǔ)言的流暢與節(jié)奏感,譯者運(yùn)用詩(shī)歌的形式翻譯習(xí)語(yǔ)。在語(yǔ)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(yǔ)的文化意象。譯本最大的翻譯特點(diǎn)是通過(guò)創(chuàng)造性叛逆達(dá)到交流的目的,用生動(dòng)的語(yǔ)言,豐富的想象,準(zhǔn)確地再現(xiàn)原文的深層含義。 宋兆霖和姚暨榮的譯本以不同的表現(xiàn)形式體現(xiàn)譯者的主觀創(chuàng)造性。譯者以自己對(duì)小說(shuō)的認(rèn)識(shí)去理解原文,用自己的語(yǔ)言淋漓盡致地再現(xiàn)了原文的意圖。為了突顯小說(shuō)人物的悲慘經(jīng)歷,譯者創(chuàng)造性地添加程度副詞,以達(dá)到增強(qiáng)語(yǔ)氣的效果;譯者放棄原文的書(shū)信格式,以讀者熟識(shí)的形式翻譯小說(shuō)。本著傳達(dá)原汁原味異土風(fēng)情的原則的同時(shí),旨在使讀者產(chǎn)生感同身受的共鳴。 與前兩個(gè)譯本相比,孫法理譯本中創(chuàng)造性叛逆的表現(xiàn)也頗多。在詞匯層面,他多次運(yùn)用略顯過(guò)時(shí)的詞語(yǔ)來(lái)表達(dá)特定的含義;運(yùn)用創(chuàng)造性叛逆的語(yǔ)言打破源語(yǔ)語(yǔ)言形式的束縛;通過(guò)靈活多變的翻譯技巧,減輕讀者的閱讀負(fù)擔(dān)。譯文中最成功的創(chuàng)造性叛逆體現(xiàn)在對(duì)諺語(yǔ)“入鄉(xiāng)隨俗”的翻譯上,譯者創(chuàng)造了一個(gè)全新的文化意象,令人耳目一新。在充分表現(xiàn)原文豐采的同時(shí),兼顧譯入語(yǔ)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(chǔ)上,回答了兩個(gè)研究問(wèn)題。研究通過(guò)自建《雙城記》漢譯本的語(yǔ)料庫(kù),利用描寫(xiě)翻譯學(xué)的理論,描述八、九十年代譯本所體現(xiàn)的翻譯共性,即翻譯規(guī)范;再選取其中三個(gè)著名譯本,在譯者自身?yè)碛胁煌跋戎�、前有�?產(chǎn)生各具特色譯文的基礎(chǔ)上,分析譯者翻譯的創(chuàng)造性叛逆,從而揭示譯者的翻譯過(guò)程中體現(xiàn)的翻譯規(guī)范,但又不是簡(jiǎn)單地遵循時(shí)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(xué)位授予單位】：徐州師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2011
【分類(lèi)號(hào)】：H315.9;I046

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本文編號(hào)：1901205