Acknowledgements
Upon the completion of this thesis, I would like to extend my deepest gratitude to my supervisor, Professor Wu Bo, for her advice in shaping my ideas and patience in improving my draft. The final version of this thesis is indispensable from her insightful suggestions and consistent encouragements. At the beginning of MTI program, I felt frustrated as a beginner of both translation practice and study compared with my outstanding classmates. It was Professor Wu who offered great help in improving my translation competence and shaping the proper approach to academic research. I feel extremely grateful that I could walk through two years of post-graduate study with her.
My sincere thanks also go to other professors in the School of Foreign Languages of East China Normal University for their enlightening lectures and dedication in translation study, especially to Professor Li Honghong and Professor Du Zhendong. Professor Li introduced deconstruction translation theory to us for the first time in her lecture, and her doctoral thesis which showed her brilliant understanding about that theory has been an exciting adventure for me during my thesis writing. Professor Du impressed me by his unfailing efforts in providing various translation materials and communicating his creative ideas about translation with us. Moreover, he is always ready to encourage and help us on and off campus.
I am also grateful to my outstanding classmates. For me, they are good team players in academic study and intimate friends in personal life. My last thanks go to my beloved family members. Their love and dedication have been continuing sources of courage and strength for me in fighting for a better future.
i
摘要
悬疑小说是目前深受中国读者喜爱的一种小说类别，近年来国内出版社每年都会引进和翻译许多英语原版悬疑小说。随着读者英语能力及文学鉴赏能力的提高，读者对于译作文学性的要求也上升到了一个新的高度。在传统翻译理论中，原作是至高无上的权威，是整个翻译过程中意义的本原。解构主义翻译观对本原的拆解打破了传统翻译理论中原作的主导地位，使原作与译作成为互补共生的平等关系。悬疑小说与经典文学相比在翻译上有更高的自由度，平等的原/译作关系使译者能够摆脱传统翻译原则的束缚，以更加开阔的思维从宏观和微观层面全面审视悬疑小说的汉译，最终达到在译作中重现原作文学性的目的。在原作与译作互补共生思想下，本文从语法层次入手，通过对比分析笔者初稿及终稿中具有代表性的例句，探讨了在悬疑小说Daddy’s Little Girl的汉译中重现原作文学性的具体方法。
关键词：悬疑小说原作与译作解构主义翻译观互补共生译者主体性
ii
ABSTRACT
This paper first discusses the relationship between the English suspense novel and its Chinese translation version. The author argues that compared with literature classics, suspense novels allow more freedom in translation. It is put forward that the source text is no longer in absolute dominance in its relationship with the target text, instead, reciprocity and reconciliation of the source text and the target text should be achieved during the translation process. The philosophical thoughts on translation of deconstructionism provide theoretical supports for this observation. On the basis of the theoretical discussion, this paper proceeds to explore how to produce the Chinese translation version of equal literary effects with the original work. By analyzing and comparing the first draft of the translation and its modified version on levels of word, sentence, and passage, this paper concludes that pursuing reciprocity and reconciliation of the source text and the target text is an effective translation approach that inspires translators to handle the Chinese translation of suspense novel from both macro and micro perspectives and produce the translation of equal literary effects with the original work.
革命军人核心价值观Key words: suspense novel, the original and the translation, deconstruction translation theory, reciprocity and reconciliation, translator’s subjectivities
iii
目录
英文致谢 (i)
中文摘要 ............................................................................................................................... i i ABSTRACT (iii)
目录 ...................................................................................................................................... i v
1. 引言 (1)
2. 原作文本解析 (2)
2.1 玛丽.希金斯.克拉克简介 (2)
2.2 《爸爸的宝贝女儿》故事梗概 (2)
牛黄狗宝
2.3 《爸爸的宝贝女儿》文学性概述 (3)
3. 互补共生的原/译作关系 (4)
3.1 从二元对立到互补共生 (4)
3.2互补共生的原/译作关系中译者主体性的彰显 (5)
4. 译例述评 (6)
中文核心期刊要目总览20124.1书名Daddy’s Little Girl的翻译 (6)
4.2单词的翻译 (7)
4.3短语的翻译 (8)
刘庆宁
4.4 句子的翻译 (9)
4.5 段落的翻译 (11)
4.6 篇章的翻译 (12)
5. 结论 (14)
参考文献 (15)
附录1 (1)
附录2 (30)
附录3 (31)
iv
1. 引言
丹·布朗的《达·芬奇密码》于2004年登陆中国后受到广大读者的热烈追捧，中国出版市场由此掀起一股翻译外国悬疑小说（以英语作品为主）的热潮。在这股热潮中，读者不断提高的英语能力和文学鉴赏能力对悬疑小说译作的文学性提出了更高的要求。而在数量繁多的译作中那些翻译腔浓重的，甚至出现错译和漏译的作品极大地破坏了悬疑小说带给读者的阅读快感，至于其文学性更是无从谈起。
笔者认为悬疑小说汉译本中文学性的缺乏是由于译者长期受传统翻译理论中“忠实”、“对等”原则的束缚，
甘肃政法学院图书馆无法彰显译者主体性造成的。“忠实”、“对等”原则的理论基础在于原作被视为意义的本原、享有绝对权威地位，解构主义翻译观中对本原的拆解，及原作与译作同为意义能指链上的一分子的观点使原作“退位”而译作“晋位”成为了平等的关系。以上观点使传统翻译原则的基础发生动摇，译者从“忠实”、“对等”原则的束缚下解放出来，可以创造性地介入原作的翻译，在更大程度上发挥译者的主体性作用。在此基础上，解构主义翻译观引入纯语言的概念，提出不同语言之间存在相似性和差异性，这使原作与译作的语言可以互补共生，最终达到翻译的终点——纯语言。悬疑小说与经典文学相比在翻译上有更高的自由度，互补共生的原/译作关系使译者可以更加全面地审视悬疑小说的汉译，以达到重现原作文学性的目的。
笔者在本文第一部分首先指出悬疑小说的汉译本存在文学性欠缺的现象，接着分析了这种现象产生的原因并提出了解决方法。第二部分是对本文选用的悬疑小说的来源、文学性特点及翻译目的的介绍。第三部分阐述了笔者对解构主义翻译观中互补共生的原/译作关系的解读及该观点下译者主体性的发挥。在第四部分，笔者以悬疑小说Daddy’s Little Girl的汉译为例，探讨了原/译作互补共生的观点下，通过发挥译者主体性提高译作文学性的具体方法。最后一部分是对整篇论文的总结性陈述。
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