（英语语言文学专业论文）目的论与Alices+Adventures+in+Wonderland的两个中译本的比较.pdf

descriptive chinese abstract i 摘 要 摘 要 到目前为止，儿童本位（children-orientation）是现阶段研究儿童翻译文学的翻译标 准，能满足儿童阅读水平和欣赏趣味的译本才被认为是好译本。 根据翻译目的论，翻译目的决定译文文本特征。在本论文中，我们拟将翻译目的论 用于儿童文学的研究，一改以往从儿童本位角度来研究儿童翻译文学的现象，把以往排 除在儿童文学翻译研究之外的译本纳入研究视野，并给予恰当的评价。本文从目的论角 度对爱丽丝漫游奇境记的两个不同的译本进行对比分析，旨在说明在目标读者和翻 译目的上迥然相异的两个译本可以同时获得成功。 赵元任的翻译目的是愉悦儿童；吴钧陶意欲为所有可能的读者，包括成人和儿童， 重现这本小说作为经典的独特魅力。 在第二章 “目标文本及文化意象的翻译和文体特征” 中，作者从文化意象和文体特征两方面展开论述。在翻译文化意象上，赵译本采用归化 策略，使译本更具可读性，也便于儿童欣赏。异化的翻译策略使吴译本忠实于原文，把 读者带进具有异国情调的故事中。在文体特征上，作者强调了赵译本采用的儿童语言和 吴译本采用成人化语言。赵译本的口语体符合了当时儿童的理解能力，迎合了他们的阅 读需求；吴译本中很少带儿童特征的语言，成人书面语的使用使译本语言流畅优美。 在第三章 “目标文本及幽默话语的翻译” 中， 作者特别关注了双关和打油诗的翻译， 这是该小说幽默的两个主要表达方式。在翻译双关上，赵元任用与原文不尽一致但有相 关联系的双关语来进行替换，以此达到娱乐读者的目的。而在吴钧陶的译文中，吴照字 面翻译双关语，并标上脚注给予进一步解释。读者只有在阅读了脚注后才能明白双关之 所在。这样，吴译本再现了原文本的幽默，并成功地再现双关语。这极大地丰富了读者 的知识，满足了成人读者及求知欲旺盛的儿童的期望。打油诗的翻译也是如此，赵元任 的译本舍弃了部分内容的忠实，再现了韵脚，增加了节奏感，使之朗朗上口，比原文更 胜一筹。吴钧陶则再现了原文内容，尽量保留了韵脚；如不能保留，则保持内容，放弃 韵脚。作者认为，从目的论出发，我们对这两个译本可以有更公平的评价。某些优秀译 本在传统的视野下被排除在研究范围之外， 而目的论正好使我们从这种窘迫的现状中摆 脱出来。 关键词：目的论；文化意象；文体特征；幽默； 爱丽丝漫游奇境记关键词：目的论；文化意象；文体特征；幽默； 爱丽丝漫游奇境记 english abstract ii abstract great accomplishment has been achieved in the study of translation of childrens literature, with the emphasis on the children-oriented translation, which declares that the only qualified translation of childrens literature is the one that can attract childrens interest. according to the skopostheorie, a translation is determined by its skopos. in this thesis, translation of childrens literature will be studied in the light of the skopostheorie instead of the children-orientation. the skopostheorie takes the translated literature into consideration that has formerly been excluded by children-oriented translation, and offers an objective evaluation. in the three-chapter exploration into two translation versions of alices adventures in wonderland, great efforts have been made to understand the differences in the two translations in the light of skopostheorie. yuen ren chao aims to entertain children readers while wu juntao intends to reproduce the enchantment of the classic literature for both adults and children readers. in the second chapter, “purpose of target text and the translation of cultural images and stylistic features”, the author analyzes the two translations from two perspectives, namely, cultural images and stylistic features. by domesticating cultural images, chao makes the translation readable and helps children enjoy the fairy tales. by adopting the strategy of foreignizing, wu adheres to the original expressions that take the readers to an alien place. on the translation of stylistic features, the author pays attention to the children speech in chaos version and adult speech in wus version. translated in a colloquial style which conforms to childrens comprehensibility perfectly, chaos version fully meets childrens reading need. in wus version, the language with childrens characteristics is rare and the literary chinese makes the translation both eloquent and elegant. in the third chapter, “purpose of target text and translation of humorous discourse”, the author concentrates on the translation of puns and nonsense verses, which are two main resources of humor. in translating puns, chao translates the pun in the source text by another pun on a word with a different but associated meaning, and thus fulfills his translating purpose of entertaining the readers. however, in wus translation, puns have been translated english abstract iii literally and further explained with footnotes. readers cannot understand the pun until they read the footnotes. here the version not only sounds humorous, but also successfully reveals to the readers how pun works in english. it greatly enriches the readers knowledge and meets the expectations of adult readers and some children who are keen on learning. the same is true with the translation of nonsense verse. chao reproduces feet at the cost of the loyalty to part of the content, thus adding meter to the translated verse and making it superior to the source text in readability. wus version remains both the content and the feet, and shows preference for the remaining of the content when it is in conflict with feet. in this thesis, the author draws a conclusion that these two translation versions can be given a fair evaluation in the light of skopostheorie, which helps us out of the embarrassment that some wonderful translation versions might be excluded from research in the light of children-orientation. key words: skopostheorie； cultural image； stylistic feature； humor； alices adventures in wonderland 湘潭大学湘潭大学 学位论文原创性声明学位论文原创性声明 本人郑重声明：所呈交的论文是本人在导师的指导下独立进行研究所取得的 研究成果。除了文中特别加以标注引用的内容外，本论文不包含任何其他个人或 集体已经发表或撰写的成果作品。对本文的研究做出重要贡献的个人和集体，均 已在文中以明确方式标明。本人完全意识到本声明的法律后果由本人承担。 作者签名： 日期： 年 月 日 学位论文版权使用授权书学位论文版权使用授权书 本学位论文作者完全了解学校有关保留、使用学位论文的规定，同意学校保 留并向国家有关部门或机构送交论文的复印件和电子版，允许论文被查阅和借 阅。本人授权湘潭大学可以将本学位论文的全部或部分内容编入有关数据库进行 检索，可以采用影印、缩印或扫描等复制手段保存和汇编本学位论文。 涉密论文按学校规定处理。 作者签名： 日期： 年 月 日 导师签名： 日期： 年 月 日 introduction 1 introduction 0.1 significance of the study written by charles lutwidge dodgson (1832-98), who is celebrated under the pseudonym lewis carroll, alices adventures in wonderland depicts a girl named alice, who experiences an absurd dream in which she falls deep into a hole and meets with a series of strange happenings, people, and animals. its sequel through the looking-glass and what alice found there was published in 1871. it is reported that the success of these works was attributed to the fact that “unlike most childrens novels of the period, they had no moral and did not teach anything” (drabble 280). the appealing adventures of alice remain a favorite despite the fact that the novel was published over 100 years ago. even the cartoons or movies adapted from the novel have achieved massive popularity. in this thesis, alices adventures in wonderland will be studied. the story goes as follows: a girl named alice is bored while on a picnic with her sister. she finds interest in a white rabbit, one in a topcoat muttering, “im late!” she follows it down a rabbit hole, drops down into a dreamy underground of paradox, absurd and improbable. as she attempts to follow the rabbit, she meets with several misadventures. she grows to gigantic size and then to half her original height, she meets a group of small animals stranded in a pool of her own tears, she gets trapped in the rabbits house, meets a baby which changes into a pig, and a cat which disappears gradually, goes to a never-ending tea party, plays croquet with an anthropomorphized deck of cards, goes to the shore and meets some more odd creatures, and she attends a courtroom trial of the knave, who has been accused of stealing some tarts. eventually alice wakes up underneath a tree with her sister. this novel, echoing to the movement of romanticism in the 19th century, appeared as revolutionized childrens literature with its fantastic plot and brilliant use of nonsense. those characters in the novel, such as the white rabbit, the caterpillar, the ugly duchess, the cheshire cat, the mad hatter, the march hare, the gryphon and the mock turtle, whom are encountered by alice after her descent of a rabbit-hole and her attempt to get through a tiny introduction 2 door into a rose-garden, had never before been created for the amusement of children, without any moral purpose whatsoever. originally written for children, the novel later won readers of all ages in all possible fields. “carroll has found the secret of combining learning and fantasy, wisdom and wit, a sublime gift for nonsense and the most critical intelligence of his generation: the numerous witty words, puns, humorous expressions would often arouse peoples interest” (bennet 5). especially after the 20th century, the study of the novel has been more intensive as well as extensive. whats more, psychologists, physiologists, mathematicians, linguists, etc, turn to the novel for what they need. li funing 李赋宁 once observed that: the two literature works written by lewis carroll, alices adventures in wonderland and through the looking-glass and what alice found there are both for children and adults, because they are excellent sources for researches on psychology (especially the psychology of dream) and linguistics (especially the relationship between language and logic). the author describes the naivety of children, as well as the dreamland, psychology of dream, and fantastic logic which is so different from the logic when one is conscious. in addition, in the 20th century, surrealists seriously took these two novels as the early representation of their literature principles. modern poet and literary critic william empson 燕卜荪 attached importance to the two novels, citing from them in class to sprite up audience to think thoroughly and draw their own conclusions. (237, my translation) in sum, the novels value as literature for adults is so irresistible that it is not strange that there are versions that take the adult readers into account as well as those aiming at children. in china, there have been eight unabridged translations so far, which were translated by the translators as follows, yuen ren chao1 赵元任(1892-1982), wu juntao 吴钧陶 (1927- present), jia wenyuan 贾文渊 and jia wenhao 贾文浩, shi xinying 石心莹, li hanzhao 李汉昭, wu yan 吴燕, he wenan 何文安, and wang yongnian 王永年. among so many versions, i have chosen two of them to study. the first version, which is actually the first chinese translation of the novel, entitled alisi manyou qijing ji 阿丽思漫 游奇境记by yuen ren chao, was published by the commercial press in 1922. the second, introduction 3 entitled ailisi qijing lixian ji 爱丽丝奇境历险记 by wu juntao, was published by shanghai translation publishing house in 2000. the choice depends on three reasons. first, both of them are celebrated translators with much authority; second, the two versions are completely different from each other in respective targeted readership (chaos version specially aims at children, while wus version takes both adults and children into consideration) and diverse translation purposes (chaos version intends to entertain the children readers and to testify the fact that vernacular chinese could be better than classic chinese, while wus purpose is to be as faithful to the original as possible). yet despite the differences, the two versions are both successful, which captures my curiosity; third, we can obtain sufficient related information on their translation from the prologue of chaos version, and that of wus translation version of the sequel through the looking-glass, in which wu reviews and concludes his translation of these two novels. in fact, the current research on versions of alices adventures in wonderland considers that a version of childrens literature should exclusively aim at children readers as its source text does. in light of this, any translation not exclusively for children such as wu juntaos version has been given an unfair evaluation, and even debarred from being evaluated. it is the fact that adults and children have accepted the novel. as a result, in terms of their different translation purposes and targeted readership, the current research failed to justify their differences. current criticism thus has lost power to evaluate them. this embarrassing situation can be avoided if we put the two kinds of versions under the guidance of skopostheorie, which insists that to translate is “to produce a text in a target setting for a target purpose and target addressees in target circumstances” (vermeer 29). this theory supports the proposition that the same source text can be rendered differently because of different targeted readership and purposes. chao, the first modern linguist in china, is considered as the famous translator and first-class scholar among the overseas chinese (chen fukang 426). being well versed in chinese language, he can speak more than 30 kinds of chinese dialects. he was very proficient at several foreign languages, such as english, french, german and japanese. he had a good grasp of translation theories and planned to write a monograph on it but it is rather regrettable that this wish failed to come true in his lifetime. however, according to guo jian introduction 4 zhong, he wrote several essays on translation theories among which “dimensions of fidelity in translation, with special reference to chinese” (论翻译中信、 达、 雅的信的幅度) was the most well known in china (guo jianzhong 272). in the prologue of his version, chao refers to alices adventures in wonderland as a childrens novel, which no child will fail to read in america and britain. he also sees it as a book for entertainment, whose jokes are distinguished from the common ones by its nonsense: nonsense has two meanings. first, the author purely intends to make it a work of art without any purposeful meanings in it. second, the subtlety of nonsense is that it reads like a normal sentence, but it is not; it seems to mean something, however, nothing can be inferred from it. the novel has not been translated before. as far as i know, r. f. johnston 庄士敦 has interpreted it for his student, emperor xuan tong 宣统皇帝. although it is neither a newly published novel nor an unknown one, no one dares to translate it because of too many wonderful jokes and nonsense that would make it less interesting after being translated. now i run the risk in translating the jokes and nonsense and it is just an experiment. nowadays, we are conducting an experiment on the usage of chinese language, and we might as well take the chance to evaluate vernacular chinese. (qtd. in prologue, my translation) his notion that the source text is a novel for entertainment for children determines his targeted readership and translation purpose, that is, to pursue the same impact the source text has on its source readers. in other words, he tries to offer a novel for entertainment for chinese children. his analysis of “nonsense” emphasizes its impact on the readers. he pays no attention to how humor is achieved in the source text. what chao cares is the response of the readers instead of the source text itself. therefore, chaos version is in simple and smooth chinese full of childish play of words, displaying his good grounding in both english and chinese and his extraordinary skills in translation. another purpose which is not directly related to the translating but has irreplaceable effect on the translation is the test of vernacular, which results in his vivid language and thorough vernacular. in the year 1922 when chaos version was published, zhou zuoren 周作人(18851967) wrote a review of introduction 5 the version, praising chao for having selected such a wonderful novel for chinese young readers and the version was quite good (qtd. in 54, my translation). wu juntao 吴钧陶, a well-known senior translator at the present times, was once appreciated by ba jin 巴金 (1904-2005) who recommended him to work in the famous pingming publishing house in which ba jin was the chief editor. in his life, wu successfully introduced works of du fu 杜甫 (712-70), li bai 李白 (710-62), and lu xun 鲁迅 (1881-1936) to the foreigners, and also brought the foreign literature such as those of mark twain (1835-1910) and charles dickens (1812-1870) within the reach of chinese. in the prologue of wus version, he speaks of the source text in a restrained tone, generally speaking, the two alice books should be considered as childrens literature. however, over one hundred and thirty years since its publication, there have been numerous editions, versions and readers. there are even more footnotes than the main text itself in some annotated editions. its obvious that they are viewed as classical literature which means that their readers are not limited to children alone.” (qtd. in wus prologue, my translation) wu then continues to say that although he is in his seventies, he reads the novel in high spirits: most stories for children will be cast away when they grow up, but classic works like andersons fairy tales and the two alice books, in my opinion, can be read repeatedly, and every time you read you will find new things that you never discovered before. therefore, when i translated the two works, i did not take into account the comprehensibility of readers of a certain age group, nor did i delete any poems, dialogues, puns and wordplays that are hard to translate. i have reproduced with great efforts the source text with the assistance of footnotes. some footnotes may be helpful in broadening the readers knowledge, and those readers who find them unnecessary may neglect them.” (ibid) as mentioned above, while chao categorizes alices adventures in wonderland into childrens literature, wu classifies it as classic literature for both adults and children. unlike chao, what wu concerns is the classic feature of the text and the way to reproduce it in his version. in translating the novel, wu intends to reproduce the enchantment of the classic introduction 6 literature for all possible readers, including children and adults. therefore, in his version literary chinese adds beauty to the version with the help of many footnotes that interpret the source culture and language. while chaos readers get childish happiness from his version, wus readers get aesthetic pleasure brought by the beautiful target language as well as the source culture and source language techniques retained in his version. in sum, being relaxing and pleasant, chaos version is especially suitable for children. in other words, an adult reader will find the language somewhat superficial, and at the same time, being aware that he is re