【作者】 韩莉妲；

【导师】 韩江洪；

【作者基本信息】 合肥工业大学 ， 英语语言文学， 2009， 硕士

【副题名】《纳尼亚传奇：狮子、女巫和魔衣柜》汉译本的个案分析

【摘要】 本文的主要研究对象是2005年由译林出版社出版的、由陈良廷和刘文澜翻译的《纳尼亚传奇:狮子、女巫和魔衣柜》汉译本中的词汇手段。文章首先全面回顾了前人对儿童文学和《纳尼亚传奇》所做的研究。然后,鉴于儿童文学和儿童心理学相关研究与儿童阅读、理解和接受过程之间存在的紧密联系,介绍了儿童文学和儿童心理学的相关理论,其中包括二者的历史沿革、儿童作为独立个体地位的确立、儿童文学的功能、儿童语言和儿童的想象。接下来,通过将源语文本和目标语文本进行对比,发现了四种明显的词汇手段:汉语叠词、叹词、四字成语和“奇幻”词及词组。这四种词汇手段都极大地增强了译文的生动性。此外,汉语叠词和叹词的大量使用为译文创造了大量的停顿机会,从而降低了译文的行文速度,有利于儿童读者在面对一个陌生的文化背景、陌生的国度、陌生的故事时更容易地跟上故事的节奏。“奇幻”词及词组的使用为汉译本增添了一层神秘的氛围,从而更能引起读者的好奇心,并进而激发读者的想象。另一方面,汉语四字成语的大量采用也反映了译者及其所属文化中儿童观念的教育倾向。由于儿童文学的翻译在大多数情况下是以儿童为目标读者的,因此,在翻译过程中,要使译本更容易为儿童所理解和接受,应遵循以下三条原则:坚持儿童本位的立场,尽量使用儿向语言,并争取激发儿童的想象。然而,毕竟儿童文学的翻译工作主要由成人承担,成人脑中的儿童形象未必符合实际生活中真正的儿童,于是,成人的思想难免会渗入到译作中。正是在这个意义上,儿童文学的翻译被比作是一个双重载体,远比成人文学的翻译更为复杂。更多还原

【Abstract】 In this thesis, the lexical devices used in the Chinese version of The Chronicles of Narnia: the Lion, the Witch and the Wardrobe which was translated by Chen Liangting and Liu Wenlan and published by Yilin Press in 2005, are the main research subject.After a comprehensive review of previous studies on the translation of children’s literature and on The Chronicles of Narnia, research findings concerning children’s literature and children psychology including the historical development of the two, the discovery of the child, the functions of children’s literature, child language and children’s imagination, are introduced as the theoretical bases of this thesis on account of their close relationship with the reading and comprehending process of a child reader. Then through textual comparison between the original and the translated, four distinctive lexical devices are found: the use of Chinese duplicative phrases, the use of interjections, the use of Chinese four-character idioms and phrases and the use of mysterious words and phrases. In addition to the generally acknowledged vividness achieved by these devices, the former two contribute a lot to lowering down the pace of the development of the story in the translated version by providing longer and stronger emotional pauses so that child readers can keep up with the progress of the story more easily when faced with a strange culture, a strange country and a strange story; the use of mysterious words and phrases serves to create a mysterious atmosphere and arouse readers’curiosity so that readers’imagination may be provoked. On the other hand, the use of Chinese four-character idioms and phrases also reflects the didactical view of the translators or of the culture they belong to. These four lexical devices as a whole make the translated version a cohesive and coherent piece to be read, understood and enjoyed by Chinese child readers. In conclusion, because the translation of children’s literature take in most cases children as its main target readers if adults are not supposed to be the primary readership of the translated version, then to hold an attitude of child-orientation, to use child-directed language and to promote children’s imagination, are three significant guidelines in the translating process which make the translated version easier to be understood by children and to grow popular among them. However, since most translators are adults, the image of a child in adults’mind may differ from a real child; in this way, adults’ideas slip inevitably into translations. It is in this sense that the translation of children’s literature is compared to a dual carrier which is far more complicated than the translation of adults’literature.更多还原