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学校

编码

：10

384

分

类号

____

___密

级 _

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_ 学

号：

1202

0121

1525

72

U

DC

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硕

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学 位

论

文

阐释

学视

野下

的《

石兽

》翻

译报

告

A R

epor

t on

the

Tra

nsla

tion

of “

Ston

e A

nim

als”

from

the

Pers

pect

ive

of H

erm

eneu

tics

张 玲

指导教师姓名：

蔡

春露

教

授

专业

名称：

翻译硕士英语笔译

论文提交日期：

2

01

5年

4

月

论文答辩时间：

2

01

5年

5

月

学位授予日期：

2

01

5年

6

月

答辩

委员

会主

席：

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_

评

阅

人：

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____

_

2015

年

5 月

阐 释 学 视 野 下 的 《 石 兽 》 翻 译 报 告 张 玲 指 导 教 师: 蔡 春 露 教 授 厦 门 大 学

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I

摘 要

本次翻译实践报告以美国当代著名女作家凯莉•林克的一则短篇奇幻小说

《石兽》为原文文本。这则小说出自该作者的第二部短篇小说集，全文共计约有

一万五千个英文单词，目前在国内没有出版的译文。亨利和凯瑟琳是该小说的主

人公夫妇，他们原先居住在纽约，带着一双儿女搬去郊外生活，却不料房子“闹

鬼”，周遭一连串怪事陆续发生。自从搬了家，夫妇俩夜里怪梦连连，感情逐渐

失和，婚姻危机也一触即发。凯莉•林克擅于描写美国中下层阶级的家庭生活，

她文笔细腻而富有想象力，又能够把幻想元素掺入日常生活叙述之中，因此小说

故事情节扑朔迷离，带有强烈的不确定性和魔幻现实主义色彩。

本报告以阐释学为理论框架，结合乔治•斯坦纳从阐释学的视角下提出的翻

译四步骤理论，对翻译过程中遇到的问题进行分析。报告分别从“信赖”、“侵入”、

“吸收”和“补偿”四个层面对译文进行深入讨论，通过具体的译例对重点和难点进

行说明，并阐述了行为动词的选用及人物个性化语言的翻译在文学翻译中的重要

性。此外，本文还从显性补偿与隐性补偿这两种补偿策略的角度出发，探讨了如

何进行翻译补偿。

后，笔者总结自己的感受并归纳了在文学翻译中需注意的几个问题，提出

翻译绝非易事，作为译者必须具备充分的耐心和细心，要能够把翻译理论应用于

翻译实践。另外，译者还须不断充实自己、提高中英文语言能力，通过不间断的

翻译实践来努力增进翻译水平。

关键词：文学翻译 翻译四步骤理论 补偿策略 《石兽》

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Abstract

This is a report on a translation project of a fantasy short story entitled “Stone

Animals” by Kelly Link, a famous contemporary female novelist in America. The

short story, with about 15,000 words, is selected from her second volume of stories.

So far there is no Chinese version of it published in our country. Henry and Catherine

are the main characters of the story. They are an ordinary couple who used to live in

New York, and moved into a house in suburb with their son and daughter. However,

the house is “haunted”, and a lot of strange things happened around. Since their

moving, Henry and Catherine have gradually drifted apart. Both of them had weird

dreams at night, and finally their marriage was on the verge of splitting up. Kelly

Link’s stories are characterized by the vivid description of American

lower-middle-class family life, in particular, by her delicate and imaginative writing

style. What’s more, she combines the reality with imagination by adding fantasy

elements to the depiction of daily life. In this way, the story is colored with

uncertainty and the charm of magical realism.

Based on the theoretical framework of hermeneutics, the report analyzes the

problems encountered during the translation process. Under the guidance of George

Steiner’s hermeneutic motion, namely "trust"、"aggression"、"incorporation" and

"compensation", the report also analyzes the translation in detail and elaborates the

importance of translation of action verbs and characters’ individualized language in

literary translation, supplemented by typical examples to illustrate how to solve

difficulties in the process of translation. In addition, the application of compensation

is further discussed. Some strategies about translation compensation are presented,

including explicit compensation and implicit compensation.

In the end, several problems that a translator should pay attention to in literary

translation are summarized. Translation is never easy. A good translator should

possess patience and chariness in the process of translation and explore ways to apply

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translation theories to practice. What’s more, a qualified translator must enrich

himself through continual practice and improve his Chinese as well as English in

order to enhance the level of translation.

Key words: literary translation; George Steiner’s hermeneutic motion; compensation

strategies; “Stone animals”

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目 录

中文摘要 ······················································································· I

英文摘要 ···································································································· II

引言 ······································································································· 1

第一章 翻译报告概述 ·············································································· 3

1.1 材料来源 ················································································· 3

1.2 作者简介 ················································································· 3

1.3 译文故事内容概述 ····································································· 4

第二章 原文与译文 ·················································································· 5

2.1 原文 ······················································································· 5

2.2 译文 ····················································································· 47

第三章 理论框架 ···················································································· 82

3.1 阐释学的起源和发展 ································································ 82

3.2 乔治·斯坦纳的翻译四步骤及其应用 ············································· 83

第四章 翻译过程分析 ·································································· 85

4.1 文本选择与分析 ······································································· 85

4.2 对原文的理解和表达 ································································· 85

4.2.1 气氛的营造········································································ 86

4.2.2 行为动词的选用 ·································································· 87

4.2.3 人物个性化语言的翻译 ························································· 88

4.3 译者的补偿 ············································································ 90

4.3.1 显性补偿 ·········································································· 91

4.3.2 隐性补偿 ·········································································· 92

4.4 仍需注意的问题 ···································································· 93

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结语 ··········································································································· 95

参考文献 ·································································································· 96

致谢 ··········································································································· 97

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Table of Contents

Abstract (Chinese) ················································································· I

Abstract (English) ················································································· II

Introduction ·························································································· 1

Chapter One The Background of the Project ········································ 3

1.1 Source of the Text ··············································································· 3

1.2 Introduction of the Author ··································································· 3

1.3 Brief Introduction to the story ······························································ 4

Chapter Two The Original Text and My Translation ·························· 5

2.1 The Original Text ··············································································· 5

2.2 My Translation ················································································ 47

Chapter Three Theoretical Framework ··············································· 82

3.1 Origin and Development of Hermeneutics ········································ 82

3.2 Steiner’s Hermeneutic Motion and Its Application ····························· 83

Chapter Four Translation Analysis ··············································· 85

4.1 Text Selection and Analysis ·························································· 85

4.2 Comprehension and Interpretation of the Text ·································· 85

4.2.1 Creation of Atmosphere ····························································· 86

4.2.2 Selection of Action Verbs ··························································· 87

4.2.3 Translation of Characters’ Individualized Language ···························· 88

4.3 Translator’s Compensation ·························································· 90

4.3.1 Explicit Compensation ······························································ 91

4.3.2 Implicit Compensation ······························································ 92

4.4 Problems to be noted ·································································· 93

Conclusion ······························································································· 95

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References ··························································································· 96

Acknowledgements ············································································· 97

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引言

1

引言

本次翻译实践报告选取了美国奇幻女作家凯莉•林克（Kelly Link）的短篇

奇幻小说《石兽》（Stone Animals）作为翻译文本。奇幻小说是从十九世纪中叶

才开始发展和兴盛起来的一个文学类别，如果说文学是用语言文字来展现想象

力的一门艺术，那么幻想文学则将这门艺术推向了极致。奇幻文学作品不仅包

含有像英国作家托尔金（J. R. R. Tolkien）所创作的《魔戒》（The Lord of the Rings）

系列小说这样具有独立完整时空、与现实世界迥然不同的“High Fantasy”，即“经

典严肃奇幻”；还包括在内容上显得有些神秘、令人捉摸不透的“Low Fantasy”，

即“浅度奇幻”。本次笔者选择翻译的这则小说就属于后者。这类奇幻小说的故

事背景设定于基本符合常理的现实世界或虚构世界，虽然掺有一部分幻想元素，

但其特色在于保留了现实世界的影子。它们主要着眼于给读者带来一种“惊异”

的阅读体验，通常会在小说叙述中加入或神奇或怪诞的人物情节描写，让读者

想象未知元素侵入熟知的日常世界所发生的情景。从创作手法上来看，此类作

品大多是以奇幻或魔幻的手法来反映现实生活，因此既含有现实主义的情景，

又带有离奇幻想的意境， 终产生出一种现实与幻想相融合、却又不失其真实

的独特魅力。

人们之所以会喜爱奇幻文学作品，并且对神秘的未知世界充满好奇和渴望，

是因为自身在现实生活中受到了时间和空间上的限制，而在奇幻小说那看似天

马行空的表象之下，其实隐藏着人们对超越现实的期待。幻想文学所呈现的世

界即使光怪陆离，却还是以我们对现实世界的理解和认识作为阅读基础的。“幻

想类创作是在我们在‘生活经验’的基础上加上陌生化因素……作品的背景中有

现实世界的因素，诸如人们的情感反应等，这是读者顺利解读文本的前提”（全

南玧，2010: 8）。凯莉•林克这位奇幻女作家特别擅长创作“Low Fantasy”，她虽

没有刻意在小说中设置框架宏大的虚拟世界背景，却能营造出存在于现实缝隙

当中的幻想世界。她的小说语言优美，故事情节引人入胜，常常以幻想元素在

现实世界中的瞬间展现给读者带来强烈的非真实感；另外，凯莉•林克还从她独

特的视角向人们揭示了当代美国中下层阶级的生活状态。

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翻译是把一种语言信息转化为另一种语言信息的过程，而文学翻译不单是

对意义的理解与表达的艺术，还是一个经由阐释来完成的审美再创作过程。译

者对作品的理解决定了文学翻译是一种“阐释”。阐释学（Hermeneutics）是关于

理解和解释文本意义的一门理论，它具有漫长的历史发展过程。西方翻译研究

代表乔治•斯坦纳于 1975 年出版了《通天塔——语言与翻译面面观》一书（After

Babel: Aspects of Language and Translation），他在书中提出“语言的产生和理解

过程即翻译过程”这一观点，认为语言是一种动态现象，永远处于变化之中。斯

坦纳还从现代阐释学视角把翻译的过程分为“信赖、侵入、吸收和补偿”这四个

步骤。自从斯坦纳详细论述了阐释学翻译模式以来，阐释学翻译理论就成了现

代西方翻译理论的重要内容之一。阐释学进入我国翻译研究的视野开始于八十

年代后期，杨武能先生在《阐释，接受与再创造的循环——文学翻译断想》一

文中率先运用阐释学原理论述了“文学翻译家既是阐释者又是接受者”这一命

题，而后其他学者在关于该课题的一系列核心刊物论文中又继续讨论了阐释学

与翻译之间存在的联系。虽然国内阐释学翻译研究还比较缺乏系统性，纯理论

研究较多而联系实例论证文章较少，但毋庸置疑阐释学这门理论还是为我国的

翻译实践提供了一个新的方向，它指出翻译者既是原著的读者，同时也是阐释

者，“阐释”这一行为贯穿于翻译的全过程。

在翻译《石兽》这则小说的过程中，笔者尝试运用所学的翻译策略及技巧

再现原文意义，并在翻译报告中以阐释学作为理论框架，结合乔治•斯坦纳从阐

释学视角提出的翻译四步骤理论，对翻译过程进行全面分析。另外，在阐释文

学作品的同时，译者还要注重作品的审美意义。“从内容上讲，文学翻译是对文

学作品的语言形式、艺术手法、情节内容、形象意境等的再现；从语言特征上

讲，文学翻译作品的语言也应具有想象力、审美性、创作性和抒情性”（胡显耀，

李力，2009：4）。因此本次翻译目标是：尽可能忠实传递该小说的原文信息，

避免过度发挥所造成的增译和漏译；其次，文字表述要通顺流畅、选词恰当，

译文符合中文表达习惯，防止出现语言“欧化”的现象； 后还要保有原文的语

言风格，保留该小说原有的神秘气息及奇幻韵味。

厦 门

大 学

博 硕

士 论

文 摘

要 库

Degree papers are in the “Xiamen University Electronic Theses and Dissertations Database”. Fulltexts are available in the following ways: 1. If your library is a CALIS member libraries, please log on http://etd.calis.edu.cn/ and submitrequests online, or consult the interlibrary loan department in your library. 2. For users of non-CALIS member libraries, please mail to etd@xmu.edu.cn for delivery details.