摘要
本研究以自建《青衣》汉英平行语料库为基础,依据场景框架认知模式理论,探讨了文学翻译中译者主体创造性的实现过程与成因。根据Kussmaul(2006)提出的场景框架认知模式的四种关系类型,即框架进入场景(R1),框架改变(R2),场景进入框架(R3),框架被近乎相同框架呈现代替(R4),本研究对《青衣》汉英平行语料进行手动标注并对数据进行整理和统计。研究结果表明,《青衣》汉英平行语料库中场景框架认知模式的四种关系类型均有出现;从四种关系类型分布数量看,R1最多,R3最少,依次表现为R1>R2>R4>R3。从译者主体创造性实现的翻译策略选择看,R1,R2,R4均属于归化策略,R3属于异化策略。这一结果不仅揭示了翻译过程中场景框架的认知作用,同时表明文学翻译中为了实现译者主体创造性,译者根据不同类型情况选择了相应策略。
This study aims at discussing how the scene-frame cognitive model analyzes the realization process and explains reasons of the translators' subjective creativity. Based on the parallel corpus study of The Moon Opera,the study made manual annotation according to the four types put for ward by Kussmaul ( 2006),which respectively refer to the first type as frame-into-scene( R1), the second as changing the frame( R2),the third as scene-into-frame( R3) and the fourth as be ing rendered by the same frame( R4). Analysis of the data shows all the four types have occurred in The Moon Opera with R1 accounting for the most and R3 the fewest,and more specifically, R1 > R2 > R4 > R3. As for the translators' choice of strategies during the realization process of creativity,the translators mainly chose domestication in the examples of R1,R2 and R4 while foreignization in those of R3 . The results reveal that the cognitive functions of the scene-frame paradigm play a role in the process of translation,and indicate that the translators make strategic choices are made accordingly so as to ensure the accomplishment of subjective creativity.
作者
闫怡恂
成晓光
YAN Yixun;CHENG Xiaoguang
出处
《外语与外语教学》
CSSCI
北大核心
2019年第3期98-106,146,147,共11页
Foreign Languages and Their Teaching
基金
2019年教育部青年项目“中国当代翻译(学)家口述史研究”
辽宁省教育厅人文社会科学项目“中国现当代文学外译研究——葛浩文现象研究”(项目编号:W2014154)
辽宁省社会科学规划基金项目“外宣翻译的过程研究——辽宁外宣翻译形象构建研究”(项目编号:L17BYY012)的部分研究成果
关键词
译者主体创造性
场景框架认知模式
平行语料库
the translators' subjective creativity
the scene-frame cognitive model
The Moon Opera
a parallel corpus
