以残传残,以缺译缺——从《尤利西斯》看“残缺”艺术手法及传译手段  

On the Reproduction of Fragmentary Structures in Literary Works:A Case Study of Chinese Translations of Ulysses

作　　者：周晔[1] 孙致礼[2] 

机构地区：[1]国防科技大学,湖南长沙410073 [2]解放军外国语学院,河南洛阳471073

出　　处：《外语与外语教学》2009年第6期46-50,共5页Foreign Languages and Their Teaching

摘　　要：乔伊斯的意识流作品尝试取消标点符号，使用了大量不完整的词语结构和引文片断。这些残缺的形式都是极有意味的审美形式，是作者表达人物内心世界和文本主题的重要途径。本文以《尤利西斯》三个中译本为例，就“残缺”艺术的表现以及翻译中如何保留“残缺”形式，从而保留“残缺”艺术手法所暗含的丰富意蕴，进行了比较细致深入的探讨。如何挣脱传统语言形式的束缚，充分传译出“残缺”艺术形“残”意“满”的艺术张力，是现代小说译者面临的巨大考验。In Ulysses, a masterpiece of the Stream of Consciousness, James Joyce has experimented on various language levels, for instance, frequent use of broken words or structures, omission of punctuation,incomplete citation of literary quotations, stories, songs or musical scores. All these technical devices serve not only to bring out the thematic meaning of the whole work but also to display the aesthetic taste of the author. It is a great challenge for literary translators to reproduce these fragmentary elements in translation without any detriment to their artistic functions in the original.

关 键 词：残缺 传译 尤利西斯 意识流 

分 类 号：H059[语言文字—语言学]