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作 者:邓林 Deng Lin(School of International Studies,Shaanxi Normal University,Xi’an 710062,China)
机构地区:[1]陕西师范大学外国语学院
出 处:《外国语文研究》2022年第2期81-93,共13页Foreign Language and Literature Research
摘 要:在中国文化“走出去”的过程中,中国文学的译介传播间接影响着中国国际形象的塑造,而鲁迅小说以国民性批判和民族启蒙为特点,塑造了诸多集国民性和民族性特点的经典人物形象,这些人物形象在翻译中的再现效果无疑影响着中国国际形象的塑造。本研究以鲁迅第一部白话文小说《狂人日记》中塑造的“狂人”形象为例,借助语料库工具总结“狂人”形象在蓝诗玲译本、莱尔译本和杨氏译本中的再现特点。研究发现,三个译本中再现的“狂人”形象在饱满度上存在较大差异,基于图里的翻译规范理论,原因在于译者对原文人物形象文学性和译文流畅性的取舍差异而造成的人物形象翻译策略差异。研究认为,中国文学人物形象的外译应在反映和展现优秀积极的中国文化以及国家形象的前提下,通过适当调整其表现方式以符合受众的阅读审美度,提高其接受度。The translation and dissemination of Chinese literature indirectly affect the construction of China’s international image.Lu Xun’s novels depicted many classic images characterized by national critique and ethnic enlightenment.The representation of these characters in translation undoubtedly affects the construction of China’s international image.This research takes the image of madman portrayed in Lu Xun’s first vernacular novel“Kuang Ren Ri Ji”as an example and summarizes the representation features of Madman’s image in the English versions of Julia Lovell,William Lyell and the Yangs through corpus statistical analysis.The research found that the three images are quite different from each other in the aspect of image fullness.Under Toury’s translation norms theory,the reason lies in different translation strategies by the translators on whether retaining literariness of characterization image or enhancing target text fluency.This research suggests that the translation and representation of Chinese literary characters should first and foremost reflect an excellent and positive Chinese culture as well as national image,then some adjustments could be made in translating literary character image to meet audience’s aesthetic expectation and enhance its global acceptability.
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