从奈达的动态对等看《名利场》风格的翻译

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Contents

Acknowledgements

中文摘要

Abstract

Chapter 1. Introduction ........................................................................................ 1

Chapter 2. Translatability of Style ....................................................................... 5

2.1 Definition of style ..........................................................................................5

2.2 Style in Vanity Fair ........................................................................................5

2.3 Nida’s “dynamic equivalence” ...................................................................... 6

Chapter 3. Equivalence at Word Level ................................................................8

3.1 The definition of word ...................................................................................8

3.2 Leech’s definition of word meanings ............................................................ 8

3.2.1 Conceptual meaning ............................................................................ 8

3.2.2 Connotative meaning ...........................................................................8

3.2.3 Social meaning .................................................................................... 9

3.2.4 Affective meaning ............................................................................... 9

3.2.5 Reflected meaning .............................................................................10

3.2.6 Collocative meaning ..........................................................................10

3.2.7 Thematic meaning ............................................................................. 11

Chapter 4. Equivalence above Word Level ....................................................... 12

Chapter 5. Equivalence at Sentence Level ........................................................ 15

5.1 Deep structure ..............................................................................................15

5.2 Surface structure ..........................................................................................15

5.3 Kernel Sentences ......................................................................................... 15

5.4 Nida’s grammatical transformations from kernels ...................................... 16

5.5 Yang’s grammatical transformations from single kernels ........................... 16

5.6 Nida’s analysis of series of kernels ............................................................. 17

5.7 The application of Nida’s analysis of series of kernels in Vanity Fair ........ 19

Chapter 6. Equivalence at Text Level ................................................................ 24

6.1 The meaning of text .....................................................................................24

6.2 The general meaning of cohesion ................................................................24

6.3 The general meaning of coherence ..............................................................24

6.4 The difference between English and Chinese textuality ............................. 24

6.5 The adjustments Yang Bi takes in translating Vanity Fair ...........................25

6.5.1 Divide one paragraph into two .......................................................... 25

6.5.2 Combine two paragraphs into one .....................................................26

6.5.3 Absence of conjunctions in the receptor language ............................ 26

6.5.4 Catchword repetition ......................................................................... 27

Chapter 7. Equivalence at Rhetorical Level ..................................................... 29

7.1 Rhetoric as a part of style ............................................................................ 29

7.2 Rhetoric devices used both in the original and receptor language of Vanity

Fair .....................................................................................................................29

7.2.1 The use of satire .................................................................................29

7.2.2 The use of metaphor .......................................................................... 30

7.2.3 Transposition ..................................................................................... 31

7.2.4 Balanced sentences ............................................................................31

7.2.5 Repetition .......................................................................................... 32

7.2.6 Parallelism ......................................................................................... 33

7.2.7 Overstatement ....................................................................................34

7.2.8 Understatement ..................................................................................35

Chapter 8. Yang Bi’s Mastery of Receptor Language ...................................... 36

8.1 Nida’s viewpoint on receptor language ....................................................... 36

8.2 Yang Bi’s perception of the receptor language ............................................37

Conclusions ............................................................................................................. 40

Bibliography ............................................................................................................44

在读期间公开发表论文及成果 ..............................................................................46

ACKNOWLEDGEMENTS

Upon finishing the present thesis, I feel much indebted to my supervisor, Professor

Cheng Yuefang ，who meticulously and patiently reviews each section of it, adds

valuable advice and constructive criticisms. Without her unconditional help, this thesis

would not have been possible. I’m hereby expressing my heart-felt gratitude towards

my tutor for both her careful review of this thesis and her kindly concern throughout my

three years’ study in this university.

My thanks shall also go to all my teachers whose kind help has contributed a lot to

the completion of this thesis. In particular, I must extend my gratitude to Professor Ye

Shengnian for his precious instructions and lectures, and to Professor Zhang Jinghao，

whose kindly concern and inspiring ideas have contributed considerably to the

formation of this thesis, and to Professor Wang Bin, whose large amount of knowledge

and sharp insight in the translation field has benefited me a great deal.

摘要

每个作家都有自己的区别于他人的独特风格。风格是作家在艺术上成熟的标

志。独特的风格成了作家之间的区别性特征。风格是可以翻译的。如何在翻译中

再现原作的风格，一直以来是翻译理论界研究的问题。本文试用奈达的动态等理

论，对《名利场》的翻译作了分析。奈达的动态对等理论，是从语意到语体，在

接受语中用最切近的自然对等语再现原发语的信息。动态对等要求“最切近”、“自

然”和“对等”。译者寻求的应当是最切近的对等，应当使译文最大限度地切近原

文。在动态对等的翻译中，译者着眼于原文的意义和精神，而不拘泥于原文的语

言结构，即不拘泥于形式对应。通过分析，可以看出，《名利场》在风格的翻译上

主要有三点：1译者对原作风格有整体的把握。2译者的翻译，是以内容翻译为

主，同时兼顾了风格特色，没有拘泥于字句和原文一致。3译者采用的语言，是

适合原作风格的语言。通过翻译理论与翻译作品的结合，得出的结论是：动态对

等理论可以适用于文学翻译，文学翻译在奈达理论的指导下，可以取得好的效果。

关键词：动态对等风格翻译名利场

ABSTRACT

Every writer has his own style of writing. A writer is different from others in that

his style is different. Style is translatable. But how to translate style? Nida’s dynamic

equivalence may be of service. In this thesis, it is intended to apply the principle of

Nida’s dynamic equivalence to the analysis of a well-known literary translation Vanity

Fair. Dynamic equivalence contains three essential terms: ( 1 ) equivalent, ( 2 ) natural,

( 3 ) closest. A dynamic equivalent translation demands complete naturalness of

expression and it does not require the reader to understand the cultural patterns of the

source-language context in order to comprehend the message. A dynamic equivalent

translation often requires formal structural adjustments in order to avoid obscurity of

meaning and awkwardness of style. From the analysis of Vanity Fair on the basis of

Nida’s theory, some points can be seen, that is, firstly, the translator has grasped a

general style of the original work. Secondly, the translator has correctly reproduced in

the receptor language the closest natural equivalent to the source-language, first in terms

of meaning and second in terms of style. Thirdly, the translator has used a literary

language which is similar to the receptor language in style. The analysis proves that

Nida’s theory can be applicable to literary translation, also, under the guidance of his

theory, the style of a literary work can be transferred.

Key Words: dynamic equivalence style translation Vanity Fair

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摘要：

ContentsAcknowledgements中文摘要AbstractChapter1.Introduction........................................................................................1Chapter2.TranslatabilityofStyle.......................................................................52.1Definitionofstyle..................................

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