跨文化视角下文化负载词的翻译策略研究- 以李文俊译本《逃离》为例

跨文化视角下文化负载词的翻译策略研究—

以李文俊译本《逃离》为例跨文化视角下文化负载词的翻译策略研究—

以李文俊译本《逃离》为例摘要：2013年诺贝尔文学奖作品《逃离》是艾丽丝·门罗的代表作。门罗是加拿大籍女作家，以创作短篇小说闻名。《逃离》是国内最早翻译过的一本门罗的作品。本文选取爱丽丝门罗《逃离》中译本为研究对象。不少学者对其做了深入的研究，但目前探讨本书中译本翻译策略的文献甚少。作者将结合小说中文化负载词的具体例子，运用相应翻译策略，探讨跨文化交际理论在《逃离》中翻译的应用。作者对比分析了《逃离》原文本与译本在文化负载词的翻译上的差异，并从以下方面对译者翻译过程中所采用的翻译策略与方法进行了阐释，即翻译中的文化维度和交际维度。通过研究，作者发现译者在翻译时要充分考虑读者对译本的理解能力。译者在翻译文学作品时，除了要与文本内容相贴切，适应目的语的语言结构也同等重要。只有这样，才能让译作更易为读者所接受。同时，通过笔者的研究，可以丰富跨文化交际理论的应用范围，以期待可以促进加拿大本土文化在国内的传播。关键词：跨文化；文化负载词；短篇小说；翻译策略A

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RunawayAbstract:AliceMunroisanativeofCanada,knownforwritingshortstories.Hermagnumopus,Runaway,isthe2013NobelPrizewinnerinliteratureandtheearliesttranslatedbookofMunroinChina.TheChineseversionofRunawaybyAliceMunroisselectedasthetopicinthispaper.Vastscholarshavemadeintensivestudiesonit,buttherearefewliteraturesdiscussingthetranslationstrategyinthisbook.Basedonthespecificexamplesofculture-loadedexpressionsinthenovel,theauthorwillusecorrespondingtranslationstrategiestoexploretheapplicationofcross-culturalcommunicationtheoryinthetranslationofRunaway.Comparingthedifferencesbetweentheoriginaltextandthetranslatedtextinthetranslationofculture-loadedexpressions,theauthorexplainsthetranslationstrategiesintranslationfromtheaspectsofculturaldimensionandcommunicativedimension.Throughthestudy,theauthorfoundthatthetranslatorshouldfullyconsiderthereader’sabilitytounderstandthetranslation.Theenlightenmentofthisstudyisthatwhentranslatingliteraryworks,thetranslatorshouldnotonlybeclosetothecontentofthetext,butalsofitthelinguisticstructureofthetargetlanguage.Onlyinthiswaycanthetranslationbemoreacceptabletoreaders.Meantime,throughtheauthor’sresearch,thispapercanreplenishtheappliedrangeofcross-culturetheoryandhopetopromotethedisseminationofCanadiannativecultureinChina.KeyWords:Cross-cultrue;culture-loaded

words;shortnovels;translationstrategyContentsTOC\o"1-3"\h\uChapterIIntroduction ①此处原文为MotherShipton,即普希顿修女，为中世纪广为人知的女巫和预言师。(LiWenjun,2016:135)Inexample5,headdsfootnotetodealwiththeproblemofculturebumpsoastomakeiteasiertounderstand.Andmeanwhile,byreadingtheversion,targettextreaderscanhaveasenseofintimacy.Italsonarrowsthedistancebetweenthereaderandthewriter.Moreimportantly,itisnotdifficultforreaderstobeuponthewesternculturebyreadingthetranslatedversion.4.2CommunicativeDimensioninTranslationCommunicativedimensionisthattranslatorsneedtoheedcommunicativepurposeofthebothlanguageintheprocessoftranslation.TheexertionofthetoneandlanguagemainlyreflectthetranslationstrategyofthecommunicativepurposeinRunaway.JustastranslatorLiWenjunbelievesthatwhentranslatingthiswork,thetranslatorneedstomasterthetoneoftheoriginaltextandexpressesittoreadersthrougheffectivemethods.4.2.1DomesticationinRunawayExample6:“Julietwashappytobeearninganymoneyatall,afterheryearsonmingyscholarships.”(Alice,2015:52)Translation：“不过朱丽叶在过了多年清苦的学生生活之后，能多少挣到点儿钱已经很高兴了。”(LiWenjun,2016:53)Inthissentence,theword“mingy”isusedtodescribeaperson’sbehavior.Itmeans“吝啬的”.Here,thetranslatorusesthetranslationmethodofdomesticationtotranslateitinto“清苦的”,whichshowsthatJulietislivingahardlifeatschool.“清苦的”isatypicalwordwithChinesecharacteristics.Byusingthisword,thecharacter’svitalityisvividlyexpressed,whichwillenablethereadertobetterunderstandthecontentexpressedinthesourcelanguage.4.2.2LiteralTranslationandFreeTranslationinRunawayLiteraltranslationmeanstokeepboththecontentandtheformoftheoriginaltextinthetranslation.Example7:“Wherethehellofdidyoucomefrom?Youscaredtheshitoutofus.”(Alice,2015:40)Translation:“你到底是从哪个鬼地方跑出来的？都要吓得我们尿裤子了.”(LiWenjun,2016:40)Example8:“Wethoughtyouwereaghost.”(Alice,2015:40)Translation:“我们还以为你是鬼呢。”(LiWenjun,2016:40)Forus,hellinreligionmeanstheplacewherethedeadlive.InChristianity,thehouseofSatanishell.Itisaplacewheresinnersarecruellypunished.InChina,itis“地狱”wheretherearemany“鬼”.Inwesternculture,“ghost”means“幽灵”,whileinChina,itrefersto“鬼”.Infact,theyhavethesamemeaning.Herethetranslatorusestheliteraltranslationtoassistustounderstandthewesternculturedirectly.Throughliteraltranslation,readerswillcatchonthecontentoftheoriginaltextmoreintuitively,whichisconducivetopromotingcommunication.Freetranslationmeansthatwhentranslatorsareconfinedbybackgrounddifferencesofthetargetlanguage,translatorshavetoabandontheliteralmeaningofthesourcetextsoastofindtheconsistencywiththecontentofthesourcetextandthesimilaritywiththemainlanguagefunctions.Example9:“implyingthatshehadtobeinthesameboatastheywere.”(Alice,2015:56)Translation:“让她明白，她跟他们一样同是天涯沦落人。”(LiWenjun,2016:57)“Inthesameboat”meansthatweareinthesamesituationorthatweareinthesametrouble.ThisphraseisfromthefamouspoetBaiJuyi’sPipaPlayer.Intheprocessoftranslation,thetranslatorchoosesfreetranslationtopreservepoeticimagerybeautyoftheoriginaltext.Thereisnowordforwordtranslationoftheoriginaltext,whichcanbetterrepresentthelanguagefeatureofanation.4.2.3AmplificationinRunawayExample10:“Acoupleofthemhadcomplained,andquitforgood.”(Alice,2015:5)Translation:“有几个学员嘀嘀咕咕表示不满意，以后就再也不露面了。”(LiWenjun,2016:5)ThisexampleisbettertodescribethepersonalityofClarkinRunawaywhichisthefirststory.Clarkownedahorsefarmandwasaggressive,moodyandsometimesharshwithcustomersandevenstrangers.Inordertobetterrepresentthecharacterandprovideaclearerimageforthetargetreaders,thetranslatorusedthemethodofamplification,addingtheadverb“嘀嘀咕咕”,whosemeansistoexpressdissatisfactionwithsomethingyouarenotsatisfiedwith.Sothetranslationcanhelptodepictthecharacterandachievebettercommunicativeeffect.ConclusionThispapertakestheChineseversionofRunawayastheresearchobject,andstudiestheoriginaltextofAliceMunro’sRunaway.Atthesametime,itanalyzestheChineseversions,andusestheCross-CultureTheorytodiscussthathowtheCross-CultureTheoryapplytotheChineseversionofRunaway.Throughthestudy,wecanfindthatintheprocessoftranslation,theauthorflexiblyusesthetranslationskillsandstrategiesofChinese-Englishtranslation,soastohighlightthecharacterandidentitycharacteristicsofthecharactersandincreasethereadabilityofthearticle.InthetranslationofthenovelRunaway,firstofall,thetranslatormustclarifyhisidentity.Thetranslatoristhefirstreaderoftheoriginaltextwhoconstructsthemeaningoftheoriginalworkbeforetheotherreaders.Thetranslatorneedstoconsiderthereaders’culturalbackgroundandthedifferenceofcross-culturalcommunicationandensurethatthetranslationisacceptedbythereaders.Secondly,thetranslatorneedstogivefullplaytothesubjectivity,anddealwiththeculture-loadedwordofRunaway.Therefore,thetranslator’sunderstandingofsourcetextwillbedeeplyimprintedinthetranslation,anditsstatusisimportantandcannotbeignored.Thestudyoftheseculture-loadedwordscombinedwiththetheoryofcross-culturalcommunicationwillhelpreaderstofurtherunderstandthecultureinRunaway.Asforthecross-culturetheory,thispaperanalysesthetheoryinasuperficialway.Atpresent,ourawarenessoftheoreticalresearchhasbeenenhanced,researchfieldshavebeenexpandedandinternationalexchangesandcooperationhaveincreased.Atthesametime,therearealsosometroubles,suchaslessresearchandsingleresearchmethods.Therefore,theauthorbelievesthatresearcherscanconductmorecross-culturalcommunicationforumsandcross-bordercooperationsoastojointlypromotethedevelopmentoftranslation.BibliographyAliceMunro.Runaway[M].VintageBooksUSA,2015.NidaEugene.Language,Culture

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EducationPress,1993.谌华玉.跨文化交际研究的人类学渊源概述［J].汕头大学报，2002,(5).王福祥、吴汗樱.《文化与语言》[M].北京:外语教学与研究出版社,1994.贾玉新.《跨文化交际学》[M].上海:上海外语教育出版社,1997.胡文仲.《跨文化交际学概论》