《《德伯家的苔絲》中環(huán)境描寫(xiě)翻譯對(duì)比研究Comparative Study on Translations of Setting Description in Tess of the D’urbervilles》由會(huì)員分享，可在線閱讀，更多相關(guān)《《德伯家的苔絲》中環(huán)境描寫(xiě)翻譯對(duì)比研究Comparative Study on Translations of Setting Description in Tess of the D’urbervilles（23頁(yè)珍藏版）》請(qǐng)?jiān)谘b配圖網(wǎng)上搜索。

1、 《德伯家的苔絲》中環(huán)境描寫(xiě)翻譯對(duì)比研究 Comparative Study on Translations of Setting Description in Tess of the D’urbervilles 論文摘要 文學(xué)作品的翻譯有別于非文學(xué)作品之處主要在于它能夠再現(xiàn)原著的美學(xué)價(jià)值。小說(shuō)翻譯即屬于該范疇，因此鑒賞小說(shuō)翻譯的一個(gè)重要標(biāo)識(shí)就是看它是否通過(guò)深入細(xì)致的人物描畫(huà)，完整復(fù)雜的情節(jié)敘述，具體充分的環(huán)境描寫(xiě)來(lái)再現(xiàn)原著的美學(xué)價(jià)值。而環(huán)境描寫(xiě)又是襯托人物性格、展示故事情節(jié)的重要手段。 童慶炳，《文學(xué)理論教程》，2004年 所以只有充分地把環(huán)境描寫(xiě)部分翻譯好，才可能如茅盾先生所

2、言：“把原作的藝術(shù)意境傳達(dá)出來(lái)，供讀者在讀譯文的時(shí)候能像讀原作時(shí)一樣得到啟發(fā)，感動(dòng)和美的感受?！? 本文旨在通過(guò)對(duì)《苔絲》兩個(gè)譯本的比較喚醒譯者在翻譯實(shí)踐中，充分重視環(huán)境描寫(xiě)的翻譯，注重小說(shuō)意境的烘托，以便最大限度地呈現(xiàn)原著的神韻，達(dá)到最佳的翻譯效果。以《德伯家的苔絲》為例，小說(shuō)的作者哈代被稱(chēng)為文學(xué)畫(huà)家，他用畫(huà)家的眼光看待要反映的事物，用畫(huà)家的手法描寫(xiě)周?chē)兓沫h(huán)境。在他的小說(shuō)中，環(huán)境描寫(xiě)為推動(dòng)故事情節(jié)發(fā)展、塑造人物和烘托氣氛起了至關(guān)重要的作用，從而大大加強(qiáng)了作品的感染力。 葉家莉，《苔絲》兩個(gè)譯本的比較，2001年 而本文所選的兩種版本的譯作，也在環(huán)境描寫(xiě)的翻譯上各顯其能， 并給我們的研究

3、探索創(chuàng)造了條件。 本文從張谷若和孫致禮、唐慧心的兩個(gè)《德伯家的苔絲》譯本中分別選取了十個(gè)環(huán)境描寫(xiě)的翻譯片段，并用對(duì)比的方法進(jìn)行分析，最終得出這樣的結(jié)論：環(huán)境描寫(xiě)是推動(dòng)故事情節(jié)的手段；是烘托人物命運(yùn)的工具；是增強(qiáng)作品感染力的渠道，因此譯者在翻譯環(huán)境片段的時(shí)候需要在修辭方法和字斟句酌上下功夫，努力體現(xiàn)翻譯文學(xué)的語(yǔ)言美。 關(guān)鍵詞：環(huán)境描寫(xiě)翻譯 塑造人物 推動(dòng)情節(jié) 烘托氣氛 修辭手法 Abstract It is well accepted that translations of literary text is different from that of non-literary t

4、ext by the ways of whether or not its reproduction of aesthetic values. As novel translation belongs to literary translation, so it must follow the rule that a good translation version should reproduce the aesthetic values of the original. Basically speaking, the theme of a novel is usually develope

5、d through character, plot and settings, which are also known as the three main components of a novel. And furthermore, the setting description is the important tool for character portraying and plot development. So only by proper setting description, a novel translation might reproduce the nuances o

6、f the original as much as possible. It just as Mao Dun says, “The literary translation should transmit the mood of literal works to the target language readers, so as to make the readers be inspired or moved and touched by the nuances and get the feelings of beauty in language.” The researcher of t

7、his paper intends to probe that translators should build full awareness of reproducing the original aesthetic values by good translation of setting description. Take Tess of the D’urbervilles as an example, the author of this book Tomas Hardy are named as “Literal artist”, who was good at setting de

8、scription. Proper description of setting may be good for plot and character, and strengthen the artistic appeal. The selected versions of this book are good examples of translation of setting description, which made our research available. This paper selects some sample paragraphs from two transl

9、ated versions by Mr. Zhang Guruo and Mr. Sun Zhili & Tang huixin separately, and through the comparison of the translation of setting description we will get the following results: since setting description holds the function of plot development and character portraying, so the translation words sho

10、uld be weighed carefully and then reproduce the nuances of the original. Key words: Translation of setting description, aesthetic values, plot development, Character portraying, atmosphere creation, rhetoric Table of Contents Pages 1. Introduction ………………………………………………………….. 1.1 Research

11、 Background……….………………………………. 1.2 Research Objective..………………………………………… 1.3 Project Design……………………………………………….. 1 1 1 1…… 2. Rationale ……………….…………………………………… 2 2.1 Definition of Setting………….……………………………….. 2 2.2 Function of setting in a novel……………………………….. 2 2.3 Importance of setting descr

12、iption of translation……..… 2 3. Data Description …………….. ……………………………………… 3.1 Brief Introduction of SLT…………………………………… 3.2 Brief Introduction of TLT…………………………………… 3.3 Standard of Data Seletion…………………………………. 2 3 3 4 4. Analysis of the Data………………………………………….. 4.1 Setting for creating Atmosphe

13、re………………………… 4.2 Setting for Portraying Characters……………………….. 4.3 Setting for Plot Development…………………………….. 4 4 5 6 5. Results and Suggestions…………………………………………… 5.1 Results……………………………………………………… 5.2 Suggestions…………………………………………………… 7 7 7 6. Conclusion……………………………………………………………. 7 Bi

14、liography………………………………………………………………. 9 Appendix………………………………………………………………… 10 20 Comparative Study on Translations of Setting Description in Tess of the D’urbervilles 1. Introduction 1.1 Research Background As we all know, the three components of novel are character, plot and setting.

15、And setting description usually plays an important role for character portraying, plot development and atmosphere creation. As a master-hand of setting description, Tomas Hardy was named as “l(fā)iterary artist”, who was famous for the talent of setting description in his novel and make the description

16、combined with the plot and serve for the whole work. So we choose his novel Tess of the D’urbvilles to develop our research. 1.2 Research Objective The practice of setting description translation is not simply a word-for-word translation. It should be regarded as an important part of a novel due

17、 to its function of portraying character and development of plot. The research tries to examine some setting discourses in Tess of the D”urbevilles and their translations in Chinese version, and then to find out the translation strategies applied by the translator in translating setting description.

18、 1.3 Project Design The research is divided into four parts. In part one, the author will define setting and describe the main theories relate with the study. In part two, the author will go further into the study of setting translation by examining 10 paragraphs in Tess;. In part three, the a

19、uthor aims to summarize setting description translation strategies according to the data analysis; Finally, in part four, the author will summarize the whole research and present the implications for the future practice and research. … 2. Rationale: 2.1 Definition of Setting Setting is defined a

20、s “the place or time that the action of a book, film etc happens” Longman Dictionary of Contemporary English and “all the things that surround someone or something at a particular time, including the events that happen, their environment, or the people they are with” . Longman Dictionary of Contem

21、porary English That means setting is not only exists in real life but also in a book or film. In this paper, we concentrate our attention to the former one. 2.2 Function of setting in a novel In a novel, setting description is a main way for character portraying and plot development, which shou

22、ld depend on natural setting, cultural setting or social setting etc. the formation and development of a character are also controlled by special setting. So setting description in a novel should be adequate and accurate. 童慶炳，《文學(xué)理論教程》第九章 文學(xué)作品的類(lèi)型和體裁 2.3 Importance of setting description translati

23、on Mao Dun says, “The literary translation should transmit the mood of literal works to the target language readers, so as to make the readers be inspired or moved and touched by the nuances and get the feelings of beauty in language.” 茅盾：《為發(fā)展文學(xué)翻譯事業(yè)和提高翻譯質(zhì)量而奮斗》，1954年 So Translation of setting desc

24、ription does not mean to word-to-word translation. On the contrary, it should be weighted and considered as much as possible, so as to reproduce the nuances of the original work. 3．Data Description The data to be analyzed consists of ten paragraphs which are selected from two different Chinese v

25、ersions translated from Tess of the D’urbervilles. The first version was translated by Mr. Zhang Gu Ruo (張谷若) and published by the People’s Literature Publishing House （人民文學(xué)出版社），1957; the second version was published by China Zhi Gong Publishing House （中國(guó)職工出版社）and translated by Mr. Sun Zhi Li and Ms

26、 Tang Hui Xin （孫致禮，唐慧心），2003. 3.1 Brief Introduction of SLT Tess of the D’Urbervilles was subtitled A Pure Woman and published in 1891. It is one of Hardy’s saddest tales of rural troubles. Tess is the daughter of the poor John Durbeyfield who learns from the village parson that his family is

27、 related to ancient nobility, being the last of the family the D’Urbervilles. In trying to make use of this connection, Joan – John’s wife - suggests that Tess pursue the son of the local family of Mrs. D’Urberville. As it turns out the Mrs. D’Urberville has merely taken the name for convenience but

28、 Tess becomes involved with her son Alec nonetheless who gives her employment but takes advantage of her and in unpleasant circumstances seduces her. They have a child together who dies early and cannot be baptized because he is illegitimate. The second stage of the novel concerns the family of the

29、Reverend Mr. Clare and his son Angel. Angel and Tess marry but when she admits the incident with Alec their relationship is torn apart leading to Angel’s departure for South America and Alec’s second attempt to ensnare Tess. This leads to murder, escape and superficial impurity on the part of Tess w

30、ho is finally brought to "Justice". 3.2 Brief Introduction of TLT There are many Chinese Translations of Tess. This paper based on two versions, which are Mr. Zhang Guruo’s version and Mr. Sun zhili & Tang Huixin’s version. The reason for choosing Mr. Zhang Guruo’s version is that it was publi

31、shed by the People’s Literature Publishing House, which is quite famous in China; the reason for choosing the latter one is because its translation for setting description are somehow different from that of the former one, which offers adequate materials for our research. 3.3 Standard of Data Selec

32、tion The function of setting in a novel could be classified as three conditions: a. it creates atmosphere; b. it portrays characters; c. it contrasts plot development. So we choose the paragraphs which serve the above mentioned function separately. However, the classification is just for our conven

33、ience of statement, sometimes the paragraph holds more than one function which may leads to bias. 4. Analysis of the Data: The purpose of this research is to concentrate our attention on the setting description translations of the different Chinese versions in Tess of the D’urbervilles. In the m

34、eanwhile the author hopes that this discussion might help readers hold a clear attitude towards on how the translation for setting description affects on the reproduction of aesthetic value of the whole original. There are ten selected discourses for us to analysis and from which our results would c

35、ome. All the examples are classified into three groups by the function of the setting description in the novel. 4.1 Setting for Creating Atmosphere In table 1, Zhang’s version is a full equivalence by faithful translation, whereas Sun’s version is translating meaning. For example, “her quiescent

36、 glide” is a noun phrase as subject, so Zhang’s version says 她那悄悄冥冥的凌虛細(xì)步；while Sun’s version translate this noun phrase into a simple sentence like 她靜悄悄地獨(dú)行。This plain treatment makes the latter version lose the taste of the original. Another difference of TT1.1 and TT1.2 is the translation of “l(fā)onel

37、y”. The first version uses “曠山”and “空谷”to make a mystery of the atmosphere; Whereas the second version translates it as “寂靜”，which is a common word that could not give the readers any special sense of the atmosphere. Other differences are treatments of some adjectives and nouns. For example, the fir

38、st version use more four-character words than the second one to successfully create the atmosphere: 悄悄冥冥、潛潛等等；凌虛細(xì)步、嬌軟腰肢、綺思深念，these four-character phrases makes the whole discourse in good order and sounds elegant in style; while the second version translate the same words into 靜悄悄、隱隱約約、獨(dú)行、身影, which

39、does not consider about the beauty in language.. In the second discourse, Zhang’s version translates “play about their faces” into 輕拂微掠, while Sun’s version 輕輕地吹拂著。So Zhang’s version is more genteel than Sun’s. “the broad mirror of light”, Zhang says 清澈晶瑩的浩蕩明鏡，both the modifying and modified words

40、are all treated into four-character phrases, while Sun’s version does not. Moreover, Zhang’s version uses a personification for the word “herald-drops”. 打頭陣 sounds more vivid, but the second version translates the meaning only. In discourse three, both versions are almost the same in words but litt

41、le difference in an adjective. The first version use “毒熱的荒野”、“毒蛤蟆” for “a torrid waste” and “the toads”，then the second version use “酷熱”、“癩蛤蟆”。In this paragraph, Tess’s tragedy fate is hinted by the terrible description of the fire. The first translation version use the adjective of “毒” as an attrib

42、ute to modify the words which can create the atmosphere properly. In discourse four, they are different from the last sentence translation of “essence” and “substance”. In the dictionary, essence means “the most basic and important quality of something” ，in Chinese本質(zhì)、實(shí)質(zhì); while substance means mater

43、ial, in Chinese 物質(zhì)。In first version, they are translated into 本質(zhì) and 神情；while in the second version, they are translated as 物質(zhì)本身 and 事物的實(shí)質(zhì)。Each version has its strong points, however, from the atmosphere perspective, the first one sounds better; while the second one makes the readers confused. 4.2

44、Setting for Portraying Characters The two versions are different from how to translate the adverb “terribly”. In Longman Dictionary of Contemporary English, it has two meanings: one is “especially, very, extremely”, which is translated as 非常、極度、很；another meaning is “badly, severely”, which is trans

45、lated as 非常糟地；嚴(yán)重地。From the context, we know Tess does not like the beautiful incline at all, because it reminds her of some sad experience, which means the surface of the view is beautiful while the truth of life is not. So it should be translated into “美的可怕”，instead of “美麗極了”。 The sixth paragraph

46、describes Tess’s good mood to expect her new life. So in her eyes, everything is lovely. Thus when we appreciate the translation, we should pay attention to the use of parallelism to the second sentence. The second version has lively rhythm by using蔚藍(lán)的大氣、黏重的土壤、濃郁的氣息and seems to echo with the good mo

47、od of Tess in words like清新、明凈、縹緲. So the second version is slightly better. The seventh paragraph reflects Tess and Clare’s are falling in love. The setting description combined with the character’s good mood. The main difference exits in translation to the last sentence. The use of reiterative li

48、ke 一支支、一根根、一股股、一朵朵；and some antithesis like 無(wú)聲無(wú)息、無(wú)影無(wú)蹤made the second version better than the first one. The sentence pattern is well-balanced and shows Tess’s happiness. 4.3 Setting for Contrast Plot Development TT8.1 and TT8.2: This is a transition paragraph, after which Tess will tell Clare all

49、the wrong things she had done, and thus her tragedy will begin. But she does not know at all. The author hinted this by describing the fire. The two translators applied different translation treatments to the last sentence. In term of grammar, the first version is translated into a compound sentence

50、 which has two subjects, one is 她的脈搏，the other is 它們的顏色；While the second version is translated as a adverbial in a simple sentence. Since after this paragraph, the plot will develop mysteriously, so the first version is better. TT9.1 and TT9.2: This description is about Tess’s ancestor’s appearance

51、, which is hinting karma of Tess. It is known that in Chinese, many derogatory terms are three-character words, so the second version translates the appearance into three-character phrases, like長(zhǎng)臉膛，尖下巴，瞇縫眼，鷹勾鼻，大牙齒, to show the negative view of it. In Chinese almost all the three-character phrases ar

52、e used in a derogatory sense, for example 挖墻腳、穿小鞋、扣帽子 etc. TT10.1 and TT10.2: This paragraph is describing the bad conditions of Tess. She was not living well after Clare left her alone. Both the two translations to the third sentence seems lost some meaning of the original. It might be translated

53、 as : 他們傾著身子，穿過(guò)風(fēng)雪漫漫的田野，步履艱難的往前走去，盡量靠著樹(shù)籬好避避風(fēng)，可是樹(shù)籬不僅擋不住風(fēng)雪，反而由于過(guò)濾作用，使得風(fēng)雪更勁了。Here in order to avoid the lost of the meaning, we could use some translation techniques, for example addition. 5. Results and Suggestions 5.1 Results What is the practice like in setting translation? Based on the above a

54、nalysis, we find that setting translation is controlled by the original beauty in both content and form. As an aesthetic subject, the translator should try his/her best to reproduce the nuance and the poetic quality of the original setting description, which holds the function of portraying characte

55、rs, developing plot or creating atmospheres. In order to reach this target, the translator should weight his/her words by some translation strategies: from the sounds level, translators may try to use four-character phrases to make the whole article sounds genteel, or to use three-character phrase t

56、o show a derogatory sense, or to make good use of reiterative for lively rhythm. Proper rhetorical measures like personification, parallelism, and antithesis or reiterative should be applied when necessary. 5.2 Suggestions on the Translation Strategy Here are some suggestions for the future practi

57、ce of setting translation. Firstly, since the TL is controlled by the SL, the translator must faithfully reproduce what the author want to show; Secondly, translator should try to give the target reader beauty in language when translating setting description and at the same time considering about t

58、he function holding by the discourse; Thirdly, proper rhetorical measure should be applied to well reproduce the poetic quality and nuance of the original. 6. Conclusion This research makes an attempt to explore the strategies of setting description translation in literary works by examining s

59、ome setting discourse in Tess and their translations in SS. To achieve these objectives, the analysis is made between 10 paragraphs in Tess and their translations in SS. According to the analysis, the translation strategies dealing with setting description translation are classified into two pri

60、nciples: syntax and rhetoric. The specific translating strategies include antithesis, parallelism, and personification, reiterative and four-character phrase or three-character phrases. The data for the research are carefully selected so that they can represent the common phenomenon of setting tr

61、anslation to a certain extent. However, potential weakness still can be found in the research design. First, the paper only focuses on the study of setting translation from the aspect of aesthetics, more studies are left for the further research. Second, because the examples are all selected from Te

62、ss of the D’urbervilles, the limitation of samples possibly lead to bias in the results. So, there is much room for improvement so that clear results can be found.Bibliography 葉家莉: “《苔絲》兩個(gè)譯本的比較”，《文學(xué)翻譯佳作賞析》，崔永祿主編，南開(kāi)大學(xué)出版社，2000年 方夢(mèng)之：《譯學(xué)辭典》，上海外語(yǔ)教育出版社，2005年 朱維之，趙灃，崔寶衡：《外國(guó)文學(xué)史》，南開(kāi)大學(xué)出版社，2004年 童慶炳，《文學(xué)理

63、論教程》，高等教育出版社，2004年 Appendix： Table 1: Setting Description for Creating Atmospheres ST Zhang Guruo’s version Sun Zhili & Tang Huixin’s version ST1: On these lonely hills and dales her quiescent glide was of a piece with the element she moved in. Her flexuous and stealthy figure became a

64、n integral part of the scene. At times her whimsical fancy would intensify natural processes around her till they seemed a part of her own story. TT1.1: 在這些曠山之上和空谷之中,她那悄悄冥冥的凌虛細(xì)步,和她所活動(dòng)于其中的大氣,成為一片.她那裊裊婷婷.潛潛等等的嬌軟腰肢,也和那片景物融為一體.有的時(shí)候,她那想入非非的綺思深念,使她周?chē)匀唤绲南⒂?深深含上感情,一直到它變得好象是她個(gè)人身世的一部分. TT1.2: 在這寂靜的山

65、巒峽谷中，她靜悄悄地獨(dú)行，與周?chē)沫h(huán)境融匯在一起。她那裊裊婷婷、隱隱約約的身影，也成了那片景物不可缺少的一部分。有時(shí)候，她的想入非非會(huì)給周?chē)匀唤绲倪M(jìn)程蒙上濃郁的感情色彩，好像這自然界的進(jìn)程也是她個(gè)人身世的一部分。 ST2: The dull sky soon began to tell its meaning by sending down herald-drops of rain, and the stagnant air of the day changed into a fitful breeze which played about their faces. The quick

66、silvery glaze on the rivers and pools vanished; from broad mirrors of light they changed to lustreless sheets of lead, with a surface like a rasp. TT2.1: 天色沉悶的空中,不久落下了幾個(gè)打頭陣的雨點(diǎn)兒,表示真有雨意.白天停滯不動(dòng)的空氣,也變成了一陣的微風(fēng),在他們臉上輕拂微掠.河流和池塘的水面上水銀一般的光澤,現(xiàn)在都完全消失了;原先清徹晶瑩的浩蕩明鏡,都變成晦暗無(wú)光的鉛皮,水面上起了像銼齒的皺紋. TT2.2: 過(guò)了不久，陰沉的天空落下了幾個(gè)雨點(diǎn)，預(yù)示天要下雨了；白天停滯不動(dòng)的空氣，也化成了一陣微風(fēng)，輕輕地吹拂著他們的臉膛。河流和池塘水面上那水銀般的光澤，已經(jīng)完全消失了，原先清澈寬闊的明鏡，現(xiàn)在已變成了晦暗無(wú)光的鉛皮，表面像銼刀一樣粗糙。 ST3: Their hands were still joined. The ash