摘 要
本文以中文短篇小说《星期六》英译本为例，系统探讨了叙述学理论在中文引语形式英译中的应用。小说中作者通过使用不同引语形式，达到控制叙述节奏、塑造人物性格的目的，因此本研究在叙述学理论的指导下对小说的引语形式进行分析，有助于理解不同引语形式的使用意图。 本文将理论和译例紧密结合，系统探讨在叙述学理论指导下中文小说引语形式的英译技巧。通过翻译实践和理论分析发现，各引语形式在译文中均可保持其原本的引语形式，但在具体语境下，为保持原作的整体风格、加快叙述节奏、凸显人物性格、减轻读者阅读压力，以期最大程度再现原文的写作风貌和叙事风格，并增强译文的可读性，源语文本的一些引语形式可以其他形式在译文中呈现，具体发现如下： 首先，源语文本中间接引语引导词之后的引语内容过长，语境重心易出现偏移，导致话语掌握权由叙述者转向人物，可翻译为自由间接引语、直接引语，甚至自由直接引语，淡化叙述者的声音，拉近读者与人物的距离，增强表达效果。
其次，翻译直接引语时，若引语内容所处语境以间接叙述为主，整体叙述节奏较快，且引语内容较短，无法起到塑造人物性格的作用，可将直接引语转化为言语行为的叙述体或者间接引语，加快叙述速度，保持语言的简洁性。
再次，由于两可型为汉语所特有的引语形式，翻译时要结合具体语境进行分析，若人物的声音更突出，则宜译为直接引语或自由直接引语；若整体叙述节奏较快，人物在语境中的主体角弱化，则宜加快叙述速度，增强译文的节俭性，译为间接引语或自由间接引语。
最后，在引语内容翻译上要注意翻译技巧的使用。本文主要采用异化、归化、显化、省略、语序调整等翻译措施，以期最大程度再现原文的写作风貌和叙事风格。其中，归化法可妥善处理汉语的特口语和习语，降低理解难度；显化法是指增添汉语中隐化的逻辑词，重组句子结构，使译文符合英语表达；省略法则用来处理源文引语中较为冗余的部分，增强译文可读性；调整语序可逻辑整合源文中的流水句，使译文更符合目的语特。
关键词：《星期六》；叙述学；中文小说；引语形式英译
Chinese-to-English Translation Study of
Speech Presentation from the Perspective of Narratology:
A Case Study of Chinese Short Story “Saturday”
ABSTRACT
闭式引流
Based on the case study of translation of the Chinese short story “Saturday”, the present thesis discusses the application of the theory of Narratology in the translation of speech presentations in Chinese fiction. Speech presentations in fiction are important ways of characterization and manipulation of narrative rhythm. The analyses of speech presentations in a fiction under the guidance of Narratology are conducive to understanding different speech presentations.
The present thesis conducts a systematic analysis of the translation techniques of speech presentations in Chinese fiction applying the theory of Narratology in to the translation practice. Speech presentations in the target text are consistent with the source text in most cases. However, some speech presentations can be different from the original ones when specific purposes are to be reached, for example, to speed up the narration, highlight the characteristics of characters, alleviate readers’ pressure on understanding, maintain the original style of writhing and narration, and enhance the readability of target text. Specific findings are as follows:
Firstly, if the content of indirect speech is too long after the reporting verb, the core of the context changes, and the weight of speech shifts from the narrator to the character, the indirect speech can be translated into free indirect speech, direct speech, or even free direct speech. In this way, the narrator’s voice is weakened, emotional gap between readers and the character is shortened and th
e effect of expression is strengthened.
Secondly, if the direct speech lies in an indirect narrative context, with fast narrative rhythm and short direct speech content which does not shape the character, the direct speech can be converted into narrative report of speech act or indirect speech to
speed up the narrative rhythm and maintain the conciseness of the original text.
Thirdly, speech presentation of “blend” is unique in Chinese, so specific context should be analyzed in the translation process. If the voice of the character is more prominent, the “blend” should be translated into direct speech or free direct speech; while the narrative rhythm is fast and the characters are less important in the context, the blend should be translated into indirect speech or free indirect speech to speed up the rhythm of speech and enhance the economy of the translation.
Lastly, different techniques are used in the translation of the content of speech presentations in Chinese fiction. Foreignization, domestication, explicitness, omission and restructuring are mainly employed in this thesis. Among them, domestication is used to convey the unique Chinese colloquialisms and idioms in the source text to the readers of English. Explicitness is used to strengthen the logic in the target text via adding logical words and omission cuts the redundancy of t
he source text and makes the translation more readable. Restructuring integrates run-on sentences in the source text and transforms them into sentences that accord with expressions in English.
Key Words: “Saturday”; Narratology; Chinese Fiction; Chinese-to-English Translation of Speech Presentations
目 录
目 录
硕士专业学位论文独创性声明........................................................................................ I 硕士专业学位论文版权使用授权书................................................................................ I 摘要.......................................................................................................................... III 第一部分翻译项目介绍.. (1)
第二部分翻译稿 (2)
第三部分翻译研究报告 (22)
研究报告目录
第1章引言 (22)
1.1研究背景、目的及意义 (22)
1.2翻译项目介绍 (23)
1.3论文结构 (23)
第2章叙述学理论与应用 (25)
2.1理论介绍 (25)
农村经济与科技
2.2叙述学下的引语形式分析 (26)
2.3叙述学与小说翻译研究 (30)
第3章《星期六》引语形式的英译 (31)
3.1翻译文本语篇分析 (31)
3.2间接引语的翻译 (31)
3.3自由间接引语的翻译 (33)
3.4直接引语的翻译 (34)
3.5自由直接引语的翻译 (37)
3.6“两可型”引语的翻译 (38)氧化石墨烯分散液
3.7小结 (39)
第4章结论 (41)
4.1研究发现 (41)
4.2研究不足 (42)
硫酸铵沉淀参考文献 (43)
致谢 (45)
中国石油大学（北京）硕士专业学位论文
第一部分 翻译项目介绍
翻译项目简介：清债
fgf1、来源：学生自拟
原作作者：苏童
题名：《星期六》
出处：苏童作品系列《神女峰》，上海文艺出版社2013年4月出版
2、翻译书目是否已有译本：
目前国内尚无译本。
3、内容简介：
该文本为中文短篇小说，出自苏童作品系列《神女峰》，2013年4月由上海文艺出版社出版。
小说讲述了一位名叫老漆的男子和小孟夫妇之间的故事。老漆与小孟萍水相逢，偶然发展为朋友，但
后来老漆频繁的拜访打扰了小孟夫妇的生活，最后夫妻二人想方设法摆脱了和老漆之间的友情，但是故事的结局并不如小孟夫妇所愿。整篇小说揭示了现代人的孤独以及人与人之间的隔阂。
该小说以语言描写为主，属于表达型文本，故事情节完整，通过大量的引语形式深刻地刻画出人物的性格特征，烘托故事主题。在语言使用上，该小说的语言富有生活气息，生动形象，理解难度适中。
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