摘要
20世纪80年代以前,尤其是在中国,文学翻译研究和批评的标准大体上依赖于主观直觉和印象式的判断,在操作方法上难以达到最大限度的客观。随着语言学和文学理论的发展,在语言学和文学批评的基础上出现了一门新的学科——文学文体学,它以语言学的方法为工具,注重探讨作者如何通过对语言的选择来表达和加强主题意义和美学效果。文学文体学是文学研究从主观走向客观的桥梁。
文学文体学涉及的主要文体类别是诗歌、小说、戏剧及散文。就小说而言,用文学文体学的方法研究小说翻译的努力还远远不够,文学文体学对小说翻译的指导作用尚未得到充分的发挥。传统的小说翻译研究往往注重原文内容的传达,而忽略其语言形式的意义。而小说中的语言形式正是作者寻求达到各种主题和美学效果的途径。文学文体学是通过分析文学文本的语言形式来探讨文本的主题和美学意义。这也是本文用文学文体学的理论分析小说《紫色》中译本的缘由所在。
美国黑人女作家艾丽丝·沃克的小说《紫色》一经发表,就引起了巨大反响,先后获得普利策文学奖、美国全国图书奖、全国书评家协会奖。《紫色》在国内外学者中得到了广泛研究,但已有的研究大都集中在女性主义、种族压迫、性别歧视的主题上。虽然中国大陆和台湾地区先后出版了《紫色》的五个中译本,但对《紫色》中译本的研究则几乎无人问津。作者发现杨仁敬、鲁书江和陶洁的三个译本在对原文语言形式的把握上存在显著的差异:当译者保留原文的语言形式时,原文的主题意义和美学价值就能有效地传达出来,而译者忽略原文的语言形式时,就有可能损害原文的主题和美学价值。因此,本文将从文学文体学的角度分析比较三个中译本,首先从文学文体学的角度考查原文的文体特征是否在译文中尽显出来,并试图探讨文学文体学对小说翻译实践和研究的指导意义。
本文主要以文学文体学的典范之作——利奇和肖特的《小说文体学》为理论框架,结合文本特征,分别从词汇、语法、语相、音系、修辞、语境和衔接、自由直接引语及视角等方面进行文本分析,探讨文学文体学对小说翻译研究的意义。
Before the 1980s, studies on literary translation and criticism of literary translation were mainly confined to general and impressionistic comments or an intuitive analysis. With the development of linguistics and literary theories, literary stylistics, based on linguistics and literary criticism, has developed into a new discipline, which attaches importance to conveying and expressing the thematic meaning and aesthetic value generated by the author's linguistic choice of words. Literary stylistics, like a bridge, makes literary studies from subjective to objective.
Poetry, fiction, drama and prose are the major literary genres literary stylistics involved. As far as fiction is concerned, the efforts to apply literary stylistics to the study of fictional translation are far from enough. However, in traditional fictional translation, much attention has been paid to conveying the content of the original, but the linguistic forms are ignored, on which the author relies to convey the thematic and aesthetic meaning. It is literary stylistics that focuses on expressing the thematic and aesthetic value by the author's choice of words. That is why literary stylistics is chosen as the perspective in this thesis to analyze the Chinese versions of The Color Purple.
As the representative novel of American famous black writer Alice Walker, The Color Purple has produced great influence since its publication. It won Walker the Pulitzer Prize, the American Book Award and the National Book Critics Circle Awards in 1983. The Color Purple has been widely studied at home and abroad. Studies are concentrated on womanism, feminism, racial depression and gender discrimination etc. Although five Chinese versions of The Color Purple have been published in mainland China and Taiwan, none study has been made on its Chinese versions. With regard to Yang Renjing, Tao Jie and Lu Shujiang's versions, differences in treatment of Walker's linguistic choice of words could be traced. When the translator takes the original linguistic form into consideration, the thematic and aesthetic meaning of the original can be conveyed. While the translator neglects the author's linguistic choice of words, it may impair the thematic and aesthetic meaning of the original. Therefore, this thesis will try to contrast the three Chinese versions from the perspective of literary stylistics, to examine whether the stylistic features of the original are retained or not in their Chinese versions, so as to explore the significance of literary stylistics towards fictional translation.
This thesis will take Leech and Short's Style in Fiction, a representative work in the field of literary stylistics, as its theoretical foundation. Connecting with the stylistic features of The Color Purple and its three Chinese versions, this paper will conduct its analysis from the following aspects: lexical categories, grammatical categories, graphological categories, phonological categories, figures of speech, context and cohesion, free direct speech and point of view. On the whole, this paper will attempt to prove whether literary stylistics is a useful tool or not in assessing fictional translation.
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