英译鲁迅作品集《呐喊》中的跨文化交流

发布时间：2023-12-13 23:15:14

英译鲁迅作品集《呐喊》中的跨文化交流摘要：本文以杨宪益、戴乃迭英译鲁迅短篇小说集《呐喊》为例，分析了该英译作品中的翻译策略。中文作品翻译成好的英文实属不易，更不用说是翻译中国现代文学巨匠鲁迅的杰作。鲁迅的小说笔调诙谐幽默，充满了辛辣的讽刺。在语言上，文字简洁凝练，朴素平实，形象生动，高度性格化且富有其时代特征。这些特点使鲁迅的文章成为了饮誉中外文坛的奇葩，也使忠实而传神地再现原作成了翻译其作品过程中的一大难点。英译小说集《呐喊》中，杨宪益与戴乃迭遵循翻译中”同化”与”异化”原则，有选择地保留中国文化特色，灵活驾驭目的语言--英语，使该作品成为跨文化交流中的一部杰作。关键词：翻译，跨文化交流，同化，异化cross-culturalcommunicationinluxun’scollectionworkcalltoarmsshimiaoabstractthisessayanalyzesthetranslationstrategiesinluxun’scollectionworkcalltoarmstranslatedbyyanghsien-yiandgladysyang，demonstratesthedomesticationandforeignizationinthetranslationworksthatmadeitachievethe“spirit”oftheoriginal.totranslatechineseworksintoenglishsuccessfullyisnoeasywork，letalonethetranslationofluxun’sworks.hisworksallhaveahumorous
toneandarefullofbitterironies.thesefeaturesmadehisworksmostoutstandingonesintheliteraryworld.also，itishardtotranslateluxun’sworkssuccessfullyintoenglish.yanghsien-yiandgladysyangbeguntheirtranslationsincethe.theirtranslationworksdreamoftheredmansion；thescholarsetcenjoyexcellentreputationinthetranslationfield.inthecollectionworkscalltoarms，yanghsien-yiandgladysyangfollowedtheprincipleofdomesticationandforeignization，andmadethetranslationworkamasterpieceinthecross-culturalcommunication.keywordstranslation，cross-culturalcommunication，domestication，foreignization，1.introductionluxunisoneofthegreatestliterarymastersinthe20thcentury.hisliteraryworksaremostreadinchina.hisworksarecharacterizedwithhishumoroustoneandbitterironies.onhiswritingstyle，hislanguageisconcise，vividandhighlycharacterized.alltheselinguisticstylemakeluxun’sworksoutstandingintheliteraturefield.yanghsien-yiandgladysyangaretwoofthemostprestigioustranslatorsinchina.theyhavetranslatedalargenumberofexcellentliteraryworks.
calltoarms，writtenbyluxunandtranslatedbyyanghsien-yiandgladysyang，isaperfectcombinationofluxun’sliteratureandtheyangs’translation.calltoarmsisabookofgreatconsequenceinchinese-englishtranslationhistory.2.translationtheoriesandmethodsthereareseveralimportantelementsintranslation.first，thetranslatorsshouldrealizethatwhattheyaretranslatingaretexts，notindependentwords，phrasesorsentences.second，whatthetranslatorspresentinthetranslationworksshouldbe“natural”.soitisnotenoughforthemtojustproducesentencescorrectingrammar，buttheyshouldmakethemnatural.third，wecanseefromthedefinitionincolumbiaencyclopediathatthetranslatorsshouldpreservetheoriginal“flavor”oftheworks.itmeansthatthespecialcharacteristicsandmannersofwritingshouldberetainedinthetranslationworks.fromsomemoderntheories，wemayconcludethatthetranslatorsshouldpresentakindoftranslationwhichis“inthewaytheauthorintended”andatthesametime“forreaderswithadifferentbackground”.（chendezhang，2005：2）
inthisessay，translationwouldbereferredasameansofcross-culturalcommunication.theterm“culture”referstothetotalpatternofbeliefs，customs，institutions，objects，andtechniquesthatcharacterizethelifeofhumancommunity.itmeansthatcultureconsistsofnotonlymaterialthingsbutalsonon-materialthings.inanotherword，culturereferstoentirewayoflifeofasociety.luxun，asagreatwriterandrevolutionist，providedabundantculturalinformationinhisworks.asitissaidabove，thetotalpatternofbeliefs，customs，institutions，objects，andtechniquesthatcharacterizethelifeofchinesecommunitywasprovided.translation，ascross-culturalcommunication，dealswiththelanguagetransmitandmeaning“transplant”oftheworks.whenitcomestocommunication，thoughsomeinformationishiddenasallknowninformation，thesepeoplecaneasilyunderstandothersaswellasbeingunderstood.sinceculturesarediverse，languagesarediverse.whenreadersreadsomethingfromanotherculture，theycannoteasilyrelatetheinformationinthecontentwiththeknowledgeoftheotherculture.thisphenomenonisverycommoninluxun’scase
becausenotonlydidheprovidesomuchcultural-relatedinformationinhisworks，butalsodidhegivedetailedandvividdescriptionsofthechinesecharactersinthestories.yanghsien-yiandgladysyang，asthetranslatorsofluxun’sworks，didagoodjobsettingupthelinksbetweenthetwolanguages.theyfilledthevacuumofsenseintheoriginalworksandpresentedthroughthetranslationworksthecolorfulcultureofournation.andintheirtranslationworks，theypresentedthecharactersjustasdetailedandvividlyasthatoftheoriginal.cultureandlanguagearecloselyrelatedandcannotbeseparated.itissaidabovethat“withoutlanguage，theymaintain，culturewouldnotbepossible；ontheotherhand，languageisinfluencedandshapedbyculture；itreflectsculture”.wordsandtermsinonelanguagedonotalwayshavethesamemeaningwhentranslatedintoanotherlanguage.afterall，wedonotrelyonadictionarytogivethepropertranslation.intheprocessoftranslatingabooklikecalltoarms，thetranslatorscanalwaysbeconfrontedwiththesekindsofproblems：first，thetranslatormaynotfindacounterpartofaterm
inanotherlanguage.second，termsmayhavesamemeaningsonthesurface，butwithdifferentculturalconnotations，etc.2.1foreignizationofculturallyuniquetermsthewordsthatrepresentthingsandconceptsspecificallyinchinesecultureusuallyhavenocounterpartsinenglish.ifthetranslatorsexplainthiskindofwordsinenglish，readersmaystillbeconfusedsincetheydon’thavesuchthingsorconceptsintheirculture，suchaslanguageforpoliticallife，day-to-dayactivities，naturalphenomenaetc.asthereisno“衙门”or“麻将”intheenglishculture，yanghsien-yiandgladysyangusedtransliteration，gavethesewordsnamesthatsoundthesameastheoriginaltermsinthetranslationwork.inthisway，readersfromtheenglishsocietycanunderstandthatthesewordsbearchineseculturalinformation.e.g.况且衙门里的大老爷也还没有告示……（yanghsien-yi&gladysyang，2006：156）translatedas：besides，noorder’scomedownyetfromthebigmandarinintheyamen….（yanghsien-yi&gladysyang，2006：157）e.g.未庄的乡下人不过达三十二张的竹牌，只有假洋鬼子能够
叉”麻将”。（yanghsien-yi&gladysyang，2006：276）translatedas：inweizhuangeveryoneplayedwiththirty-twobamboocountersandonlythebogusforeigndevilcouldplaymahjong.（yanghsien-yi&gladysyang，2006：277）2.2domesticationofculturallyuniquetermse.g.例如什么地方，雷公劈死了蜈蚣精；什么地方，闺女生了一个夜叉之类。（yanghsien-yi&gladysyang，2006：146）translatedas：where，forinstance，thethundergodhadblastedacentipedespirit，orwhereavirginhadgivenbirthtoademon.（yanghsien-yi&gladysyang，2006：147）therearenosuchthingas“……精”or“夜叉”inenglishculture.yanghsien-yiandgladysyangtranslatedthesetermsintosomethingthatclosetotheenglishreligion.“spirit”for“……精”，and“demon”for“夜叉”.thesetermscanbetranslatedintochinesesimplyas“鬼怪”，butinthisbook，thesetermsenablethereaderstounderstandthecontext.similarly，intheexamplefollows，yanghsien-yiandgladysyangtranslatedsomethingthatexistsonlyinchinesecultureintoaconceptthatiswellknowntothewesternsociety.2.3liberaltranslationofculturallyuniqueterms
thereissomeinformationwhoseoriginistoocomplextoexplain，oritismoreimportanttounderstanditsculturalconnotation.fortheseitems，thetranslatorsadoptedliberaltranslation.e.g.他很想即刻揪住他，断他的竹筷，放下他的辫子，并且批他几个嘴巴，聊且惩罚他忘了生辰八字，也敢来做革命党。（yanghsien-yi&gladysyang，2006：307）translatedas：hewasgreatlytemptedtoseizehimthenandthere，breakhisbamboochopsticks，letdownhispigtailandslaphisfaceseveraltimesintothebargaintopunishhimforforgettinghisplaceandforhispresumptiononbecomingarevolutionary.（yanghsien-yi&gladysyang，2006：308）e.g.人都满了，连立足也难，我只得挤在远处人丛中看一个老旦在台上唱。（yanghsien-yi&gladysyang，2006：414）translatedas：therewashardlyanystanding-roomandihadtosqueezeintothecrowdatthereartowatchanactorsinginganoldwoman’spart.（yanghsien-yi&gladysyang，2006：415）inthisexample，thetranslatorsdidnottheterm“老旦”inpekingopera，butexplainedthetermas“anactorsinginganoldwoman’spart”.2.4theuseofenglishidioms
translation，asameansofcommunicationbetweentwolanguages，standsfornotonlytheprocessoftransformationbetweentwolanguages，butalsotheprocessof“transplant”ofculture.totranslatethesourcelanguagesuccessfullyintothetargetlanguage，thetranslatorsshouldknowwellaboutthesocialbackground，customsandlogicsofthesocietyofbothlanguages.intheprocessoftranslation，yanghsien-yiandgladysyangwerenotframedbythemeaningofwordorbythestructureofsentences.theyusedmanyenglishidiomsinthetranslationworks.theseenglishidiomsmadeplainwordsfromtheoriginalworksmorevividintranslationworks.thoughwiththeseenglishidioms，thetranslationworksseemedtobedifferentinformwiththeoriginalworks，theycouldemphasizethepersonalityofthecharactersandbringthestyleoftheworkintoboldrelief.e.g.阿q仿佛文童落第似的觉得很冤屈，他慢慢走近园门去，忽而非常惊喜了，这分明是一畦老萝卜。他于是蹲下便拔，而门口突然伸出一个很圆的头来，又即缩回去了，这分明是小尼姑。小尼姑之流是阿q本来视若草芥的，但世事须”退一步想”，所以他便赶紧拔起四个萝卜，拧下青叶，兜在大襟里。（yanghsien-yi&gladysyang，2006：267）translatedas：resentfulasa
scholarwhohasfailedtheexaminationahqwalkedslowlytowardsthegateofthegarden.suddenly，however，hegaveastartofjoy，forwhatdidheseetherebutapatchofturnips！hekneltdownandhadjustbegunpullingwhenaroundheadappearedfrombehindthegate，onlytobepromptlywithdrawn.thiswasnootherthanthelittlenun.nowthoughahqhadalwayshadthegreatestcontemptforsuchpeopleaslittlenuns，therearetimeswhen“discretionisthebetterpartofvalor.”hehastilypulledupfourturnips，toreofftheleaves，andstuffedthemunderhisjacket.（yanghsien-yi&gladysyang，2006：268）inthisexample，ahqisfoundstealingtheturnipsbythelittlenunattheconvent.“ahqhadalwayshadthegreatestcontemptforsuchpeopleaslittlenuns”，littlenunsaretargetsofhispranks.butthistime，withahq’shungerwarninghim，andhisbeingafraidtobecaughtbytheoldnun，ahqdecidestotaketheturnipsassoonaspossible.“discretionisthebetterpartofvalour”isjustanexcuse.ahqisn’twillingtoadmitthatheisscared.thisisatypicalpresentationofthe“ahqspirit”.therelevantphrasefor“退一步想”shouldbe“onsecondthoughts”.butinthiswaythereadersofthetargetlanguagewouldhave
difficultyinunderstandingthedeepmeaninginthisphrase.theidiom“discretionisthebetterpartofvalour”comesfromshakespeare’shenryⅳ.inlongmandictionaryofenglishidioms，theexplanationofthisidiomis“oneshouldnottakeanunnecessaryrisk”.thisidiomreflectstheahqspiritinthiswork.e.g.阿q照例的发了怒，他怒目而视了。“原来有保险灯在这里！”他们并不怕。阿q没有法，只得另外想出报复的话来：……（yanghsien-yi&gladysyang，2006：217）translatedas：ahqrisingtothebaitasusualwouldglareinfury.“sothereisaparaffinlamphere，”theywouldcontinue，unafraid.ahqcoulddonothingbutrackhisbrainsforsomeretort.……（yanghsien-yi&gladysyang，2006：218）here，theidiom“risingtothebait”claimsthatahqisseducedtobeangry.andhisfuryjustsatisfiestheidlers，reflectsahq’ssimple-mindedpersonalityandthefactsthatahqisalwaysthetargetofjokingasbeinglowinstatus.theidiom“rackhisbrains”givesavividpictureofaslow-wittedandembarrassedahqwhoalwayswantstogetback
ofothers.2.5theuseofenglishsentencestructuresheretheuseofenglishsentencestructuremeansthemodifyingofsentencesespeciallythesupplementsofconjunctionssuchas“and”，“but”etc.sometimesconjunctionsareomittedinarticlesfortherelationsbetweensentencescanbeinferredfromcontext.whentranslatedintoenglish，thetranslatorsputconjunctionsbackintotheirplacesinordertohelpthereaderstounderstandtheworks.e.g.华大妈听到”痨病”这两个字，变了一点脸色，似乎有些不高兴；但又立刻堆上笑，搭赸着走开了。这康大叔却没有察觉，仍然提高了喉咙只是嚷，嚷得里面睡着的小栓也合伙咳嗽起来。（yanghsien-yi&gladysyang，2006：83）translatedas：theoldwomanseemedalittledisconcertedbytheword“consumption”，andturnedashadepaler；however，sheforcedasmileagainatonceandfoundsomepretexttoleave.meanwhilethemaninbrownwasindiscreetenoughtogoontalkingatthetopofhisvoiceuntilthechildintheinnerroomwaswokenandstartedcoughing.（yanghsien-yi&gladysyang，2006：84）inthisparagraph，theyangsaddedanumberofconjunctions
inthetranslationworks，suchas“and”，“meanwhile”，“until”.theseconjunctionsclarifytherelationsamongsentences；combinethescatteredshortsentencestogether.inthisway，therecreatedsentencesachieveclearlogicalsequenceandarewellorganized.2.6theuseofenglishrhetorictherearegreatdifferencesbetweenchineseandenglishrhetoric.ifthetranslatorsemployword-for-wordtranslationorliteraltranslation，someofthechineserhetoricaldevisewouldbedistorted.ontheotherhand，ifthetranslatorschoosenottotranslatetherhetoricaldevise，thetranslationworkswouldlosethestyleandcertaincontentthattheoriginalworksown.yanghsien-yiandgladysyang，asseniortranslators，chosenottoberefrainedbythestructuresoftheoriginalworks；buttoemploytheenglishrhetorictoexplainandexpresstheoriginalmeaningoftheworks.e.g.又有些胜利者，当克服一切之后，看见死的死了，降的降了，”臣诚惶诚恐死罪死罪”，他于是没有了敌人，没有了对手，没有了朋友，只有自己在上，一个，孤另另，凄凉，寂寞，便反而感到了胜利的悲哀。（yanghsien-yi&gladysyang，2006：239）translatedas：thereareothervictorswho，havingcarried
allbeforethem，withtheenemyslainorsurrendered，utterlycowed，realizethatnownofoe，norival，nofriendisleft----nonebutthemselves，supreme，lonely，lost，andforlorn.thentheyfindtheirtriumphatragedy.（yanghsien-yi&gladysyang，2006：240）inthisexample，“slainandsurrendered”，“findtheirtriumphatragedy”usedalliteration，madethetranslationworkreadableandremainedtheoriginallanguagefeatureofreduplication.2.7wordingofrevealingpersonalityofcharactersinluxun’sworks，allcharactershavetheirownpersonalities.acharactersactions，sayingsandthoughtscanreflecthis/herpersonality.luxunuseddescriptionandnarrationmadetheirpersonalitiesclearlypresentedintheworks.whenyanghsien-yiandgladysyangweretranslating，theychosewordsnotonlythemostaccurateandequivalent，butalsofitandreflectthepersonalitiesofthecharacters.herearesomeexamples：inkongyiji，theleadingcharacterkongyijiisafailedscholarwhoisdoltishanduselessenoughtoconsiderhimselfarealscholar.heissobadoffandnottrust-worththathehadtostealthingsforaliving.yet，asheconsidershimself
a“noble”scholar，heisunwillingtoadmitthatheisactuallyathief.however，tomakethingmorehilarious，hemakesupanumberofexcuseswhichareobviouslyfake.inthetranslationworkofkongyiji，yanghsien-yiandgladysyangusedwordsthatshowedkongyiji’scharacteristicsclearlyandvividly.herebelowisanotherexample.e.g.谁知道阿q采用怒目注意之后，未庄的闲人们便愈喜欢玩笑他。一见面，他们便假作吃惊的说：……（yanghsien-yi&gladysyang，2006：217）translatedas：itsohappened，however，thatafterahqhadtakentousinghisfuriousglare，theidlersinweizhuanggrewevenmorefondofmakingjokesathisexpense.assoonastheysawhimtheywouldpretendtogiveastartandsay：….（yanghsien-yi&gladysyang，2006：218）here“玩笑他”couldsimplybetranslatedto“makingjokesabouthim”asusual.buttheyangsused“makingjokesathisexpense”，stressedthatahqisalwaysthevictimofpeople’spranks，andmadeclearthefactthatineveryconflictbetweenhimandothers，ahqisalwaystheloser.3.conclusionthisessayusesexamplesfromcalltoarmstodemonstrate
theflexibleuseoftranslationstrategieswhichshouldbeappreciatedandstudiedbyenglishlearnersinordertoimprovetranslationskills.itaimstoillustratehowtousethetranslationskillsunderdifferentcircumstancesandtosolvecertainproblemsintheprocessoftranslationbycitingexamplesfromagoodmodeloftranslationworks.

英译鲁迅作品集《呐喊》中的跨文化交流

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