【作者】 张云；

【导师】 刘正光；

【作者基本信息】 湖南大学 ， 英语语言文学， 2013， 博士

【摘要】 本文从认知语言学理论视角对李文俊所译美国作家威廉·福克纳长篇意识流小说《喧哗与骚动》的主要特征、译者的概念化方式以及译者的翻译认知操作过程进行研究,回答了如下问题：第一、《喧哗与骚动》原著和译作的主要特征分别体现在哪些方面?如何运用认知语言学理论及其相关概念对译作的主要特征进行解释?第二、基于译者的体验认知及其译作的主要特征,在概念化原作过程中,译者的主观能动性主要体现在哪些方面?如何运用认知语言学的基本原理及其相关概念进行解释?第三、如何运用认知语言学的理论和概念对译者的翻译认知操作过程加以描述?或者说,处于两种文化语境交互空间的译者为了实现译作在形式和功能上与原作相似,其建构意义的动态过程是怎样的?本研究的主要观点如下：(一)译者的认知模式及其对译语读者认知模式的预设制约了译者的呈现方式选择。译者的呈现方式选择反映在中文本《喧哗与骚动》的特征上,主要为以下三个方面：一是译作文本内的译语表达明晰化,具体表现为名词、动词及形容词语义明晰化、人称代词指称对象明晰化和语义逻辑明晰化。二是叙事话语形式相似,具体体现在模拟原作句法以突显人物语言的差异、变换中文字体以突显人物意识流动的跳跃性、妙用语气助词以突显人物的实然心理。三是创建了脚注形式的译作文本内副文本,具有如下认知功能：提示叙述时序,增强认知的预期性；补充事件细节,产生ICM的典型性；提供背景信息,补充命题结构；明示人物关系,增强认知的完形性；解释文化现象,引入认知原型；阐释词语含义,明确命题结构；介绍事物名称,建立命题结构。(二)译者的呈现方式体现了译者概念化原作的主观能动性。在李文俊译《喧哗与骚动》中,译者的主观能动性主要体现在意义建构中的背景化、认知域选择与词语映射意义的截显、概念化原作的视角调整、突显与译作话语形式的选择、详略度与译语表达的具体化。其中,意义建构中的背景化在认知上具有两种功能：一是提供参照点信息,二是补充参照点的信息。认知域选择与词语映射意义的截显即译者对原作词语概念框架成分的匹配和调整。概念化原作的视角调整具体表现为：译者在依循原作人物视角重构译作文本的同时,根据其对译语读者认知模式的预设,适当增添表达结构以补充参照点信息,并通过频繁加注为译语读者提供信息参照。突显与译作话语形式的选择即译者以相似的句法、用词、语序和文字排列版式来突显原作的叙事艺术效果。详略度与译语表达的具体化表现为：译者根据对原作不同叙述者认知能力的准确判断以及对原作人物所述事件的理解精细程度,在译作中使用了不同精细程度的语言表达结构,相比原作而言,精细程度要高,但总体上还是再现了原作不同人物意识流动的样态,或者说切合／表征了原作不同叙述者的认知心理。(三)译者对原作的概念化是一个动态的概念整合过程,涉及源语读者的概念整合和译者的概念整合。源语读者的概念整合所产生的“涌现结构”构成译者概念化原作的重要认知基础。译者的概念整合包括宏观概念整合、中观概念整合和微观概念整合,分别融入了作者心理空间的重要信息(如作者提供的原作序言、受访记录等)和源语读者对原作的理解。译者的微观概念整合则把所预设的翻译服务对象——译语读者这一认知主体的心理空间信息作为译者对其推导出的原作框架成分进行匹配和调整的依据。本文突破现有文学翻译研究的局限,以认知语言学理论为基础,探讨了一部英语意识流小说汉译本的典型特征、译者的认知方式、译者的认知操作过程,能够为此类作品的翻译研究提供借鉴。本研究处于初始阶段,尚待进一步深入。更多还原

【Abstract】 This dissertation makes a cognitive linguistic study on the main features of Li Wenjun’s Chinese version of William Faulkner’s long stream-of-consciousness novel The Sound and the Fury, the cognitive style reflected in Li Wenjun’s conceptualization of the original text, and the cognitive process of Li Wenjun’s operation as well, based on the following questions:1) What are the main features of the original text and those of Li Wenjun’s Chinese version respectively? How to make an analysis of the main features of the Chinese version from the perspective of Cognitive Linguistics?2) In light of the translator’s embodied cognition and the main features of his Chinese version, what aspects of the translator’s subjective initiative are reflected in his conceptualization of the original text? How to make an explanation from the perspective of cognitive linguistics?3) How to describe by using the basic theory and concepts of Cognitive Linguistics the dynamic cognitive process of the translator’s producing a version which is similar to its original text in both form and function while he as a translator places himself in the overlap of two different cultural contexts?The author of this dissertation presents his major viewpoints as follows:1) The translator’s CM together with his presupposed target text readers’CM decides the translator’s selection of his mode of representation, which is characterized by specified expressions, similar narrative style compared with that of the original text and a paratext in form of footnote. Specified expressions mean that the translator in his version represents some nouns, verbs, adjectives and pronouns at a higher level of specificity, and sometimes, informs his target readers of the underlined meanings of the original naration. Similar narrative style in the translator’s representation is reflected in the following aspects:imitating the sentence structure of the original so as to make figures different from one another in language style; taking two different forms of Chinese characters for the purpose of vividly representing the narrator’s stream of consciousness; using modal particles in order to represent the real subjective world of the figures. A paratext in form of footnote is produced for the purposes of arousing the target text readers’cognitive expectation by informing them of narration time, helping them get the typicality of ICM by adding details of the narrated events, supplement their propositional structure by providing some background information, structure a cognitive Gestalt by telling who the figure are and establish a propositional structure by introducing unfamiliar things, introducing a cognitive prototype to them by explaining cultural phenomena, and making the propositional structure clear by interpreting some words,.2) The translator’s subjective initiative decides his mode of representation, which is reflected in Li Wenjun’s Translation of The Sound and the Fury as follows: clearifying background information in conceptualization of the original text so as to provide or commplement information of reference points; profiling in cognitive domain through mapping and adjusting components of conceptual frames; following different figures’ narration in the original text or adjusting point of view while conceptualizing the original text through adding footnotes when necessary, which can provide the target text readers with information of reference points according to the presupposed target readers’ CM; making the narrative style of the original text salient by choosing appropriate discourse forms, such as using the similar syntax, diction, word order and text alignment format, so on and so forth; representating the original text at higher levels of specificity, which testifies to the fact that Li Wenjun has a thorough comprehention of the events narrated in the original text. In general, his translation represents different figures’ streams of consciousness. In other words, it is respectively correspondent to different narrators’ cognitive psychology.3) The translator’s conceptualizing the original text is a dynamic process of conceptual blending, consisting in the conceptual blending of the source text readers and that of the translator."Emergent structure" produced in the conceptual blending of the source text readers makes a cognitive foundation for the translator’s conceptual blending. The translator’s conceptual blending is conducted at three respective levels at least with important information of the author’s mental space (the preface to his text, the record of his being interviewed, etc.) and the source text readers’ comprehention of the original text, i.e., macro-conceptual blending, madhyamika-conceptual blending and micro-conceptual blending as well. In his micro-conceptual blending, the translator will map and adjust the framework components derived from his previous conceptual blendings in accordance with the presupposed information in the target text readers’ mental space.This dissertation presents to us a cognitive linguistic study on the main features of a Chinese version of an English stream-of-conscious novel, the translator’s cognitive style and his cognitive process of translation as well. This dissertation is a breakthrough of the existing literature translation studies, which may drop some hints for the discussion about literature translation of its kind. The author has to say that this study is to be futhered.更多还原