基于语料库辅助的《老人与海》风格传译的研究

发布时间：2018-06-22 07:16

本文选题：风格传译 + 奈达功能对等理论　；参考：《吉林大学》2009年硕士论文

【摘要】： 基于语料库辅助的《老人与海》风格传译的研究美国作家海明威的代表作《老人与海》内涵丰富,耐人寻味。有关它的研究可谓是汗牛充栋,它们大都集中在作品的思想内容和主人公的象征意义的探寻,相比之下,对作品的艺术风格和表现手法的研究就显得薄弱了。而且以往的研究集中在定性研究,随机选取片段进行分析,未能从宏观角度进行定量分析。为了弥补定性研究的局限性和片面性,针对于此,本文从文体角度对《老人与海》独特的文体特色进行较为系统的分析,运用定性和定量分析相结合,通过自建的小型平行语料库对《老人与海》原文和两个中译本进行分析研究。本文拟建立两个平行语料库。一个是由原作与吴劳译作组成,名为EWPARA,另一个为原作与赵少伟译作,名为EZPARA.两个语料库将实现在句子层面的对齐,以便于平行语料检索工具Antconc,ACWT,和ParaConc的检索分析。分析从两个方面进行,一个以奈达功能对等理论为理论基础,分析两个中译本在三个层面上,即词汇,句法和篇章三个层面,在多大程度上实现了功能对等和文学风格的传译,并揭示其风格要素即小说的语言材料,表达方式和叙事方式等的具体特征。另一方面,就是分析老人与海的原文和译文相比是否具有翻译普遍性特征,即,简单化,外显化和规范化,以及两译本之间的翻译普遍性表现程度。奈达功能对等理论对中国翻译界有着很重要的影响,Nida的对等翻译理论于20世纪60年代问世,80年代在中国译坛全面登陆,并很快在久未接触西方翻译理论的中国翻译界产生了深远的影响,形成了不谈Nida就不谈翻译的局面。具体来说,奈达翻译理论中最核心部分就是他的功能对等翻译观,即所谓动态对等(灵活对等)翻译,是指从语义到语体,在接受语中用最切近的自然对等语再现源发语的信息。动态对等要求译文在不同语言结构中尽可能完满地再现原文意旨,限制了译者毫无节制的自由发挥。动态对等理论也认为翻译终归是为读者服务的,要是从读者的角度,而不是从译文的形式看翻译,就意味着引进另一个观点:要看译文能否为读者所理解。他认为,翻译的服务对象是读者或言语接受者,要评判译文质量的优劣,必须看读者对译文的反应如何。在翻译过程中,译者必须尊重接受语的特征,尽可能发挥接受语的表达潜力,用译文接受者喜闻乐见,符合接受语表达规范的言语形式。因此,本文采用自然的语言,意义高于形式,使读者产生共鸣作为三条原则来评判两个译本的好坏。同时,文学翻译是为读者服务的,旨在向读者介绍异域优秀文学作品。对这种异域的审美愉悦赋予文学翻译一种独一无二的审美价值,不懂外语的读者之所以要读文学译著,其目的就是潜在期望通过译著领略异族的文化。因此,风格传译能够更大化的使读者了解到这种异域情调,但前提是功能对等的实现。在小说文体特征方面,本文通过双语平行语料库检索数据以印证海明威朴实的文风和选取典型段落进行统计和分析两个译本在风格传译上的特点以及各自的优缺点:在词汇层面,原著喜选用最普通的日常词汇,多使用动词,很少使用形容词,即便选用也是最寻常的形容词,赵译在挑选合适的动词,选用普通的形容词以及口语化的语言方面的表现优于吴译,赵译在词汇层面风格传译优于吴译。在句子层面,原著用结构简单的句子,或者并列句,喜用口语化的对话形式,用最常见的连词联系起来,赵译和吴译在采用简单的句式,分解由and连接的长句均有表现,赵译在语言处理和较多使用排比来显示汉语的重视平衡的习惯,在使用口语化语言的同时兼顾文学作品的审美要求,在口语化上赵译更优于吴译。在篇章层面,原文常常重复,赵译规范化处理重复内容,而吴译无区别对待,在处理上过于僵化,过于执着于形式对等,造成功能上缺失,有损文学作品的审美价值和篇章整体性。简洁、朴实的文体特色再度体现了海明威创作风格—“冰山”原则,八分之一露出水面,八分之七则含而不露,这就给读者的留下了巨大的阐释空间。总体来说,研究结果表明,在词汇层面上,吴译的简单化程度强于赵译,赵译的外显化程度超过吴译,在句子层面赵译在简化,外显化上比吴译强,在篇章层面,规范化程度比吴译强,吴译在词汇层面的简化和直译造成一定程度上丧失了原文的文体风格以及吴译局限于机械的形式对应,语言的规范化程度弱造成译文的羞涩难懂,外显化程度不够,造成表达不够清晰,而赵译在这些方向均强于吴译。赵译没有过分拘泥于原文词句而着重于词句后面思想感情的传达,译文更加精确,更接近于原作本来面目,海明威的风格是可以再现的,赵译遵循海明威口语化的语言,在语言上以普通话为基础,使用了很少的形容词,使用很多的动词,口语运用的比较地道,掺合适当的北方方言形成富有特色的翻译语言,在语言上放得开,吃的准,无论是对话独白还是叙述描写,都能做到既简朴而又有滋味,意译用的较多,实现“功能对等”,保留原作的特色,妥善的将原文中的异域文化特色:吴译却只单纯注意词句的模仿,直译用的较多,保留了原文的内容,但是语言不够简洁,或是错误的理解造成了错误的译句,不敢越雷池半步,却未能酷似原作风貌,造成了生硬的写作风格,只做到表面上的“内容对等”而忽略了“神似”即“形式对等”,有时为了达到“形式对等”造成内容上的缺失,使译文在某种程度上丧失了海明威作品风格,同时,外来词的归化翻译,使异域文化有所损失。归根到底,译本的好坏取决于译者是否有深厚的语言文学修养,是否对海明威的作品与风格的进行研究和深刻理解,译者赵少伟的深厚的语言文学修养及严谨务实的翻译精神在《老人与海》译作中尽显无疑。译者的任务是将原作中的异域文化氛围以尽量接近于其本来面目的方式再现于读者眼前,满足与阅读本民族作品不同的审美需求。所以赵译更大程度上满足了读者的这种需求。通过上述实验证明,风格传译是有可能实现的,赵译在实现功能对等的同时,实现了海明威风格的传译,语料库辅助研究有助发现纯粹的定性研究说服力不够的缺陷,为结论提供了有力证明。功能对等理论作为理论支持体现了在本文中的指导价值。
[Abstract]:A corpus based study of style translation of the old man and the sea
The representative works of the American writer Hemingway, the old man and the sea, are rich and thought-provoking. The research on it can be described as a great deal of work. Most of them are focused on the ideological content of the works and the symbolic meaning of the protagonist. In contrast, the study of the artistic style and expression of the works is weak. In qualitative research, random selection of fragments is not able to conduct quantitative analysis from a macroscopic perspective.
In order to make up the limitation and one-sided nature of the qualitative research, this paper makes a systematic analysis of the unique stylistic features of "the old man and the sea" from the stylistic point of view, combines the qualitative and quantitative analysis, and analyses the "old man and the sea > the original" and the two Chinese versions through a small parallel corpus. This paper is to be established. Two parallel corpus. One is composed of the original work and the woo translation, named EWPARA, the other is the original work and Zhao Shao Wei's translation, and the two corpus named EZPARA. will realize the alignment at the sentence level so as to facilitate the retrieval and analysis of the parallel data retrieval tools, Antconc, ACWT, and ParaConc.
The analysis is carried out from two aspects. One is based on Nida's functional equivalence theory, and the analysis of the two Chinese versions on three levels, namely, vocabulary, syntax and text, has realized the translation of functional equivalence and literary style, and reveals its style elements, such as language materials, expressions and ways of narration, and so on. On the other hand, it is the analysis of whether the original and the translation of the old man have the universal character of translation, that is, simplification, explicit and standardized, and the general expression of translation between the two versions.
Nida's theory of functional equivalence has a very important influence on the Chinese translation circle. Nida's theory of equivalence translation came out in 1960s and landed in the Chinese translation circle in 80s. It soon had a profound influence on the Chinese translation circle that had not touched the western translation theory for a long time, and formed a situation without talking about translation without talking about Nida. The most important part of the theory of translation is his functional equivalence translation view, that is, the so-called dynamic equivalence (flexible equivalence), which refers to the reproduction of the source language from the semantic to the language and the closest natural equivalent in the language. The translator has unrestrained free play. Dynamic equivalence theory also holds that translation serves the reader. If the reader's perspective, not from the form of the translation, it means to introduce another point of view: to see if the translation can be understood by the reader. In the process of translation, the translator must respect the characteristics of the acceptor, give full play to the expression potential of the acceptor, the recipient of the translation, and the form of the language which is in the standard of the expression of the acceptor. Therefore, this article uses the natural language, which is higher than the form, and makes the readers produce. As three principles, resonance is used to judge the good or bad of the two translations. At the same time, literary translation serves the readers and aims to introduce the excellent literary works to the readers. The aesthetic pleasure of this kind of foreign language gives literary translation a unique aesthetic value. The reader who does not understand the foreign language is to read the literary translation, its purpose is the potential period. I hope to understand the culture of different races through translations. Therefore, style interpretation can make readers understand this exotic sentiment more, but the premise is the realization of functional equivalence.
In terms of the stylistic features of the novel, this paper retrieves data from a bilingual parallel corpus to verify Hemingway's simple style and select typical paragraphs for statistics and analysis of the characteristics of the two translations and their advantages and disadvantages. At the lexical level, the original book likes to choose the most common vocabulary, use verbs more, and rarely use the form. If it is used as the most common adjective, Zhao translation is superior to Wu translation in selecting the right verbs, choosing ordinary adjectives and spoken language. Zhao translation is superior to Wu translation at the lexical level. At the sentence level, the original works use simple sentences, or parallel sentences, and use colloquial dialogues in the form of spoken language. The most common conjunctions are linked. Zhao Yihe's Wu translation uses simple sentence patterns to break down the long sentences connected by and. Zhao Yi shows the habit of balancing Chinese in the language processing and more use of the parallelism, while using the spoken language to give consideration to the aesthetic requirements of literary works. In oral English, Zhao translation is better than the Wu translation. At the text level, the original text is often repeated, and the translation of Zhao is standardized to deal with the repetition of content, but the translation of Wu translation is undifferentiated, too rigid in the processing, too persistent in the form of reciprocity, resulting in lack of function, the aesthetic value of literary works and the integrity of the text. Simple, simple stylistic features re embody the "iceberg" of Hemingway's creative style. The principle of "1/8" exposing to the surface of the water, and 7/8 of them contain and do not reveal, this leaves a great interpretation space for the readers.
On the whole, the results show that, at the lexical level, the degree of simplification of Wu's translation is stronger than that of Zhao, and the degree of explicit translation of Zhao is more than that of Wu translation. At the sentence level, Zhao translation is simpler and more explicit than Wu Yiqiang. At the level of text, the degree of standardization is less than Wu Yiqiang and Wu translation at the level of words and literal translation to a certain extent. The stylistic style of the text and the translation of Wu's translation are limited to the form of the machine. The weak normalization of the language makes the translation shy and difficult to understand, the degree of explicit expression is not enough, and the expression is not clear enough, and the translation of Zhao is stronger in these directions than the translation of Wu. Zhao Yi does not excessively adhere to the original words and sentences, and emphasizes the transmission of thoughts and feelings behind the words and sentences, and the translation is more translated. Hemingway's style can be reproduced with accuracy and closer to the original nature of the original. Zhao translation follows the spoken language of Hemingway. In language, the language is based on Putonghua, using a few adjectives, using a lot of verbs, the comparison of spoken language, and the formation of a distinctive translation language in the suitable northern dialect, in the language. The language of dialogue and description, whether it is dialogic monologue or narrative description, can achieve both simplicity and taste, more free translation, the realization of "functional equivalence", the retention of the original feature, and the proper translation of the cultural features of the original text: Wu translation only pays more attention to the imitation of the words and sentences, more direct translation is used, but the content of the original is retained, but the content of the original is retained, but the content of the original is retained, but the content of the original is retained. It is the lack of concise language, or the wrong understanding of the wrong translation sentence, not more than half a step, but not similar to the original style, resulting in a rigid style of writing, only the surface of the "content equivalence" and ignore the "divine like" that "formal equivalence", sometimes to achieve "formal equivalence" in the content of the lack of content, so that To some extent, the translation has lost the style of Hemingway's works. At the same time, the naturalization and translation of foreign words makes the foreign culture lose. In the final analysis, the good or bad of the translation depends on whether the translator has profound language and literary accomplishment, the study and deep understanding of Hemingway's works and styles, and the profound language text of the translator Zhao Shaowei. The translator's task is to reappear the foreign cultural atmosphere in the original work as close as possible to the reader and to meet the different aesthetic needs of reading the national works. So Zhao translation meets the needs of the reader to a greater extent. Ask.
Through the above experiments, it is proved that style translation is possible. Zhao Yi realizes the translation of Hemingway style while realizing functional equivalence. Corpus assisted research helps to find the defects of pure qualitative research, and provides a powerful proof for the conclusion. The guiding value.
【学位授予单位】：吉林大学
【学位级别】：硕士
【学位授予年份】：2009
【分类号】：I046;H315.9

【共引文献】