摘要
海明威的小说一向以简洁明了的风格著称，其中的短篇小说《一个干净明亮的地方》充分体现了这一特点。关于该短篇小说翻译的探讨主要从认知语言学、目的论等角度切入，大多泛泛而谈，缺乏理论指导。本文选择了曹庸、汤伟和李华山的译本，从文学文体学的角度略论译本是否传达了原文的意思和风格。
本文一共分为六个部分，第一部分介绍探讨的背景、目的以及论文的框架。第二部分为文献综述，回顾风格翻译理论在东西方的发展，对风格和文学文体学等概念作介绍，并略论文学文体学在小说翻译中的重要性。第三章以小说 “A Clean, Well-lighted Place”为例，略论海明威的简洁明了的著作风格，并且罗列之前对于该短篇小说汉译本的探讨，指出本篇论文的独特之处在于，角度新颖、类比译文较多、略论详细且较为全面。第四章是论文的主体，从词汇、句法、修辞三个方面对译本进行对比略论，发现曹庸在词汇方面对原文的理解错误要比汤伟和李华山更多，英语论文题目，在句法方面，三位翻译者都在理解原文或者传达原文上有不足之处，修辞方面亦是如此。总体来说，汤伟和李华山的译本在传达原文的意思和风格方面，英语论文范文，要优于曹庸的译本。结论部分关于文章进行归纳总结, 指出本文的局限性，再次强调文学文体学措施在小说翻译中的重要性。
关键词：风格，文学文体学，小说翻译，海明威，《一个干净明亮的地方》
Abstract
Ernest Hemingway’s works have always been famous for its simplicity, which is clearly revealed in his short story “A Clean, Well-lighted Place”. The studies on the translation of this essay are mainly from the perspectives of cognitive linguistics, skopos theory, translation shift, etc，which are not specific and lack theoretical foundation. The thesis focuses on three Chinese versions by Cao Yong, Tang Wei, Li Huashan respectively, analyzing whether they convey the original meaning and style from the perspective of literary stylistics.
The paper is divided into six parts. The first part is a general introduction of the background and aims of research, and the structure of the paper. The second part is literature review, giving a reflection on the theories of style translation in both China and the west, providing a specific explanation of style and literary stylistics, and analyzing the importance of applying literary stylistics in fictional translation. In the third part, the thesis introduces Hemingway’s writing style by analyzing the examples in “A Clean, Well-lighted Place”, and lists the previous research on the translation of this short story Furthermore, it points out the uniqueness of this paper, namely, a fresh point of view, relatively more Chinese versions, a detailed and thorough analysis. The fourth chapter, as the main chapter, analyzes the translations from the level of lexical choice, sentence structure and rhetorical devices. The findings are that Cao Yong makes more mistakes in the aspect of vocabulary, compared with Tang Wei and Li Huashan, and that in syntactic and rhetorical level, all the three translators are not doing satisfactorily when interpreting the original meaning and style of the text. Generally speaking, Tang's and Li's versions are superior to Cao's version, in that Tang and Li make fewer mistakes in translation than Cao. At last, the conclusion points out the restriction of this paper, and the importance of applying literary stylistics in fiction translation.
Key words: Style, Literary Stylistics, Fictional Translation, Ernest Hemingway, “A Clean, Well-lighted Place” |
