【作者】 张亚丽；

【导师】 汤新兰；

【作者基本信息】 河北大学 ， 英语语言文学， 2012， 硕士

【副题名】David Copperfield董、张两译本之比较

【摘要】 文学作品中风格的翻译问题，越来越受到翻译界的关注。同时，围绕风格的翻译问题，不管是从理论来说还是从实践来说，相关讨论乃至争论一直不断，例如，风格是否可译，风格再现等等。本文在回顾总结了前人的相关研究成果后，从风格翻译的概念入手，探讨了风格翻译中译者和作者的关系问题以及理论界各种有关风格是否可译的观点。本文作者认为风格是可译且非译不可的，而且风格翻译构成了文学作品翻译的重要且必不可少的一部分。对于风格的翻译，无论从理论角度还是实践角度来看，都具有重要意义。不管采用哪种方法、运用哪种理论，文学翻译活动的重点还是再现原作的风格。David Copperfield是19世纪英国批判现实主义作家狄更斯的一部重要作品，从不少方面回顾和总结了自己的生活道路，反映了他的人生哲学和道德理想,具有很高的艺术价值。这部小说有多个汉译本，其中董秋斯和张谷若的译本是流传较广的译本。以往对David Copperfield译本的研究主要侧重于从多元系统论、目的论、阐释学和接受美学、意识形态操控的角度以及文化视角对董、张两译本或三、四个进行比较进行研究，对David Copperfield在董、张两译本中的风格再现进行比较的不多，而文学作品的一大功能便是激起读者内心的审美感受，这审美感受绝大程度上由文学作品的风格决定，所以文学翻译的主要任务是在目的语中再现原作的风格。译者的翻译风格明显或译文没有恰如其分地体现原作的风格都将会严重影响翻译质量，造成对原作的“背叛”，因此对这部小说译本中原作风格再现的研究十分必要。本文试图对董、张两译本中的风格再现进行比较，找出其差异，作出评价，从而让读者对董、张两译本有更深入的认识。本文共分为六章。第一章是引言部分，主要介绍了研究目的和意义、研究现状、论文的主要内容和创新点以及论文的篇章结构；第二章主要讨论风格和翻译中风格再现，主要包括风格的定义、风格的可译性与不可译性的论争、原作风格再现的重要性、原作风格和译者风格的关系以及David Copperfield的风格；第三章是从选词炼句的角度比较两译本中的风格再现，主要分为词汇层面和句法层面两个方面；第四章是从人物形象的再创造的角度比较两译本中的风格再现，主要分人物外貌描写、人物行为方式描写、人物的个性化语言描写三个方面风格的再现；第五章是从修辞的角度比较两译本中的风格再现，主要分比喻、双关和夸张三个方面；第六章是结语部分，总结了对David Copperfield两个汉译本对比研究的收获和所发现的遗憾之处，并且简要分析了导致两个译本在原作风格的再现方面的差异的原因以及在尽可能最大限度地再现原作风格方面对译者提出一些期待。总体来说，在选词炼句、人物形象的再创造、修辞这三个方面，张译本比董译本更好地传递了原作的风格，但是张译本也不是十分完美，也有译的不好的地方，仍需改进，本文的研究结果也证明风格是可译的，而且能够在译作中很好地再现。更多还原

【Abstract】 More and more attention has been paid to the reproduction of literary style in thetranslation field. At the same time, some controversial problems on literary translation havebeen discussed either in the theoretical or the practical field, such as the translatability andreproduction of style. Based on previous studies on style and style reproduction, thisdissertation discusses the relationship between the translator’s style and the style of theoriginal work in translation and further poses the issue of translatability of literary style.Theauthor believes that literary style is translatable and must be translated.The translation of styleconstitutes one of the indispensable parts of literary translation. Whatever approaches taken,whichever theory applied, the focus behind the activity of literary translation is to reproducethe style of the original work.David Copperfield is one of the important works created by Charles Dickens, the criticaland realistic British writer in the19thcentury. It reviews and summarizes his life experiences,reflects his life philosophy and moral ideals and embodies high artistic value.This novel hasmany Chinese versions, in which Dong Qiusi’s version and Zhang Guruo’s version are widelyspread. The past studies of David Copperfield’s Chinese versions primarily focus on thecomparative study of Dong’s and Zhang’s versions or three or four versions from theperspectives of polysystem theory, Skopos theory, hermeneutics and reception aesthetics, theideological manipulation and cultural perspective while there is little comparative study ofDong’s version and Zhang’s version from the perspective of style reproduction. However, oneof the major functions of the literary works is to arouse readers’ inner aesthetic sense, whichlargely depends on the style of the literary works. Therefore, translator’s main task in literarytranslation is to reproduce the original style in the target language. If the translator’s style isvery obvious in the translation or the translation does not appropriately reproduce the originalstyle, the quality of translation will be seriously affected, resulting in the “betrayal” of theoriginal work. For this reason, the reproduction of the original style in the translation of thenovel is very necessary. This dissertation tries to give a comparative study of Dong’s version and Zhang’s version from the perspective of style reproductio, to find the differences and giveevaluation so as to help readers get a better understanding of the two Chinese versions.This dissertation falls into six chapters. The first chapter is the introduction, whichmainly introduces the purpose and significance and background of this study, the content,creative points and the frame of the dissertation. The second chapter mainly discusses styleand style reproduction in translation, including the definition of style, the arguments fortranslatability and untranslatability of style，the importance of reproducing the original style,the relationship between the original style and the translator’s style and the style of DavidCopperfield. The third chapter compares the style reproduction in the two versions from theperspective of choice of words and sentence rearrangement, including the two parts: thevocabulary aspect and the syntactic aspect. The fourth chapter compares the stylereproduction in the two versions from the perspective of the recreation of image of characters,including the style reproduction of description of characters’ appearance, behaviors andindividuality of speech. The fifth chapter compares the style reproduction in the two versionsfrom the perspective of figures of speech, including three parts: simile and metaphor, pun andhyperbole. The sixth chapter is the concluding part. At the end of this dissertation, the authornot only sums up the merits the two translators achieve in their own versions, but also listssome demerits that have been found in the comparative study of the two Chinese versions ofDavid Copperfield, and briefly analyzes the causes resulting in the differences in the twoversions from the perspective of style reproduction and also proposes some expectation fortranslators on the aspect of reproducing the original style as much as possible. To sum up,Zhang’s version is better than Dong’s version in reproducing the original style from the threeperspectives: choice of words and sentence rearrangement, the recreation of image ofcharacters and figures of speech though Zhang’s version is not a perfect one and also needs tobe improved. The finding of this dissertation also proves that style is translatable and can bereproduced well in the translated versions.更多还原