摘要
本文主要研究杨宪益翻译鲁迅小说的特色，倘若单纯从文本分析的角度来谈会有过于蹈矩之嫌。只有结合对译者的分析，将描写性的研究也融入进去，方可主客观兼顾，两全其美。本研究的理论视角是文化心理学，笔者认为一切行为皆由心理活动支配。翻译是一种语言心理活动，或基于语言媒介的心理活动，实质上就是一场文化心理活动。
具体来说，本文结合了文本的文化心理和译者的文化心理两个方面展开分析研究：
一是研究文本的文化心理。文本创作是实践中作者的一种心理活动，创作心理是作者文化心理的体现。文本的文化心理反映了作者的文化心理。原作其实是一件文化作品，作者的文化心理和作品的关系是相互影响的。作者的文化心理决定了作品的形式和内容，而作品又是作者文化心理的折射和反映。译者对文本的解读是对文字进行分析解码的过程，译者不能像普通读者只需体会文字带来的感受，沉浸在想象中；译者必须有刨根问底的精神，一份认真负责的态度去完成每个文字的解读。文本是作家的心迹记录，折射了作家的心理。因此翻译时，对文本文化心理进行全面分析才能帮助译者正确解读原作，把握原作精神和意义，从而做好翻译工作。
二是译者的翻译心理研究。翻译过程中，译者对于原文的思考、加工和再现就是一种文化心理活动。翻译的过程其实就是主体，即译者的文化心理活动，是译者置于他生活的文化背景中来深度挖掘内心世界的意图、目的、观念及价值观等。译者的文化心理对于翻译作品的选择、翻译的方法和策略运用、翻译的目的都起到制约作用。因此一部上乘的译作是作者和译者共同完成的，译者借助原作实现自我精神追求，原作通过翻译得到进一步的升华和提高。
本研究以分析鲁迅小说文本为主要手段，解析杨宪益的翻译特色时，始终把文本分析放在首位。同时，也说明了他个人的文化心理在翻译过程中起到的操控作用。
第一章是绪论，主要介绍研究缘起、译本选择和译者介绍、理论基础、研究目的和意义、以及研究方法和框架。第二章是文献综述，主要介绍鲁迅小说英译状况和杨宪益翻译鲁迅小说研究状况综述，之后阐明本研究的创新点。第三章是作者和译者的文化心理探索，笔者尝试分析了鲁迅和杨宪益文化心理的形成因素，指出翻译是对原文作者的心迹跟踪，质量上乘的翻译首先就需要对作者的文化心理有正确的解读。既然是研究鲁迅小说译本，研究鲁迅的文化心理是首要问题。译者的文化心理更是直接影响到他的翻译决策和行为。我们分析影响他翻译行为的文化心理因素应该从宏观和微观两个维度上去把握：宏观上，他的翻译生涯与二十世纪的中国社会环境和政治文化背景密切相关。他的翻译行为无法摆脱当时的意识形态和主流思想的影响，具有时代特征；微观上，他个人的家庭背景、婚姻状况、爱国精神、性格特点和思维方式都具有他的独特性。所有因素的综合形成了他独有的文化心理，并直接影响到他的翻译行为。
第四章是词汇翻译，首先从鲁迅小说中的文化负载词入手，探讨杨宪益针对小说典型词汇部分的翻译；再谈到极具特色的鲁迅小说人物名称和篇名的翻译；最后通过计算机软件分析对比杨宪益和其他两位译者的用词差别，对其独特词和空缺词进行了较为详细的分析。需要注意的是语义诠释一定要符合原作的文化历史背景及作者的文化心理，语义的最终定夺必须在原文的文化心理框架中进行，不应望文生义，更不应“胡思乱想”。即便是意译也应有“意”的依据。大量详实的代表性例句对比分析表明，杨宪益在词汇层面的翻译上，受到了思维方式、时代环境、工作性质等各方面的影响，他在翻译时忠于原文，准确理解词义和感情色彩，追求简洁明了，传情达意，并尽量兼顾审美效果。他主要采用直译为主、意译为辅的翻译方法，有时也会造词翻译，用词斟酌，规范得体，力求在读者面前还原一个真实的原文。
第五章是修辞翻译，鲁迅在作品中运用的修辞手法，是多种多样的，几乎用尽所有传统的修辞手法。杨宪益在翻译鲁迅小说修辞时，费尽心思、竭尽全力，以求“情欲信，辞欲巧”。本章从词汇、句法和语意三个方面对鲁迅小说中所用的一些主要修辞手法的翻译加以探讨。总的来说，杨宪益在处理词汇层面的修辞时能直译就直译，不能直译就采用意译以追求语义的对应，最大程度上保留和原文形式上的对等的同时，也追求语气和情感的一致。比起其他两位译者，杨宪益用词更为谨慎、简练，追求形与义的对等。留有遗憾的是，有些不加注释的翻译无法把作者创作原文时想要表达的内涵体现出来，没有再现作者的创作心理，同样也没有照顾到译文读者希冀通过译文走入作者创作心理世界的阅读心理。在翻译句法层面的修辞方法时，杨宪益注重句式结构的安排，轮廓鲜明，译文形式多样，简洁紧凑，读起来余音绕梁。在具体内容的再现和选词上面，他的翻译灵活度比较小，紧扣原文，即便采用意译，他的译文也是三人中最为贴近源语的。他对翻译工作一丝不苟、绝不含糊，态度认真。对原文的理解和把握不浮于表面，译文总是力求再现深层次内涵。在翻译语意层面的修辞手法时，杨宪益仍旧以直译为主，意译为辅。他用语讲究，凸显重要性时，会选用比较书面体的词语和表达。相对莱尔口语色彩浓的用语，他用词形象，简炼得体，力图保留中国的文化意象和表达形式，对于源语文化的重视大于对读者阅读习惯的重视。
总体来说，杨宪益对待修辞时绝不马虎，他仔细解读修辞中的内涵信息，把握文本心理，即作者的创作心理。他的翻译思想、用语习惯、思维方式、文化审美等对译文都产生了不可或缺的影响。
第六章是描写翻译，小说中人物和环境的描写的翻译再现了作者的创作心理，译者在对其进行翻译时不免带上译者本身的翻译痕迹，也正是译者自己的翻译心理的体现。杨宪益在各类描写翻译上的特色就是其翻译心理的最好见证。本章从地点环境、杀人场景、人物外貌、人物语言和人物动作等五个方面就场景描写和人物描写的翻译进行对比分析，以揭示杨宪益在处理描写翻译时的特色。
综上所述，从小说描写的角度上看，杨宪益的译文忠于原文，在结构、用词、语气上都能和原文保持一致，传情达意。在整个语篇的处理上表达流畅，前后呼应，融会贯通。在选词上精准传神，行文美丽。他对待翻译工作严谨认真，驾驭英语挥洒自如，功底深厚。
第七章是结论。通过词汇、修辞和描写三个层面的鲁迅小说译文比较，本研究归纳出杨宪益的翻译特色。接着从译者的翻译心理角度找出产生特色的原因，对比译者受到的时代影响、工作目的、译本选择、目标读者定位、翻译思想、思维方式等影响，阐明不同的翻译心理因素直接导致不同的翻译。最后说明本研究的不足和展望。
This dissertation is largely concerned with the major features of Yang Xianyi’stranslation of Lu Xun’s complete fiction, integrating text analysis into descriptivestudies of the translator, which is believed to be desirable. On the basis of culturalpsychology, the dissertation proposes that all human behaviors are thought to beexplained by his or her psychological activities. Translating is a process of linguisticand psychological activities, or more specifically, a process of a series ofpsychological activities based on the medium of language. To put it simply,translating is, in essence, a process of cultural psychology.
In specific terms, this paper approaches the above-mentioned subject in twoaspects, namely the cultural psychology of the ST (source text) and that of a translator.Firstly, writing is a process recording psychological activities of the original writer,whose creative mind is also traceable in the ST’s cultural psychology. A ST is acultural craftwork, in which the original writer’s cultural psychology and his or herwriting are interwoven: the original writer’s cultural psychology determines the ST’sform and content, while the ST is a reflection of and response to his or her culturalpsychology. A translator’s comprehension of a ST is a process of decoding, which isutterly different from common readers who normally only care about their feelingsaroused and imagination stimulated. A translator is bound to probe into every detail ina most careful way. Since a ST is a record of the original writer’s psychological tracksand activities, an overall comprehensive analysis of cultural psychology involved inthe ST facilitates the translator’s profound understanding of the ST both in form andcontent. Only in this way can the translation quality be assured.
Secondly, this paper investigates the translator’s translating psychology. In thetranslating process, a translator’s reading, thinking, processing and reproducingexhibit the whole process as a series of cultural psychological activities. Translating is,as the subject of the whole process, a translator’s cultural psychological activities. Inother words, translating is the process in which a translator against certain culturalbackground subconsciously reveals his or her intentions, purposes, perceptions and values. A translator’s cultural psychology determines, to some extent, his or herchoice of the ST, the techniques and strategies of translation and purpose oftranslation. That is to say, an exquisite translation is a collaboration of the originalwriter and the translator. The translator expresses his or her spiritual pursuits in the STwhile the ST is sublimated through its translation.
This research employs the text analysis of Lu Xun’s complete fiction as its mainmethod, even in describing features of Yang’s translation. On the other hand, Yang’scultural psychology is explained as the dominant factor in his translating process.
The first chapter serves as an introduction, which briefs the origin of this study,the choice of the ST and TTs (target texts), the background of the translators involved,the theoretical foundation, and the purpose, significance, methodology and frameworkof this dissertation.
The second chapter mainly focuses on the current research accomplishment interms of Chinese-English translation of Lu Xun’s novels, especially Yang’s translation,before elaborating on the creative breakthroughs in this research.
Chapter three respectively explores the cultural psychology of Lu Xun and YangXianyi by analyzing the contributing factors in its formulation, in which the messageis conveyed that translating is a process of tracking down the original writer’s mindand a good translation demands accurate comprehension of the original writer’spsychology, the result being that Lu Xun’s cultural psychology becomes the primaryissue of the research on the translation of Lu Xun’s novels. A translator’s culturalpsychology exerts direct influence on his translation strategies and selections. Thispaper analyzes the translator’s cultural psychology in two perspectives: macro andmicro. In macro terms, Yang’s career of translation is closely related to the social,political and cultural conditions in the twentieth century. His translational era-specificbehaviors could never escape from the influence of prevailing ideology and dominantideas then. In micro terms, his uniqueness is well exhibited in his family background,marital situation, personality featuring patriotism, and his thinking pattern. All thesecontribute to his unique cultural psychology and in turn directly influence histranslating behavior.
The fourth chapter examines the translation at the level of words. It comparesthree translated versions of all of Lu Xun’s novels starting with the translation ofculture-loaded words. Then comes the analysis of translation of characters’names andnovel titles. Lastly, the computer-aided analysis is targeted at the detailed study ofunique words and vacant words of Yang’s version. It should be noted that theinterpretation of the meaning is supposed to accord with the cultural and historicalbackground of the ST and the cultural psychology of the original writer. The finaldetermination of the meaning should be completed within the framework of the ST’scultural psychology. In other words, no guesswork or random interpretation is allowed.Even liberal translation is certainly to be done on the premise of thoroughlyunderstanding the meaning. Through the comparative analysis of many representativeexample sentences, it is concluded that Yang’s translation concerning the level ofwords is influenced by his pattern of thinking, the background of the time when helived and the unique feature of his work, etc. His translation is faithful to the ST withan accurate understanding of connotative and associative meaning of words. Histranslation tries its best to be concise, expressive and fruitful in aesthetic effects. Headopts literal translation as his main method, which is aided by liberal translation. Hemanages to reproduce the ST to readers by coining words at times, carefulconsideration of words and canonized way of expressing.
The fifth chapter is the study of translation of various figures of speech in all ofLu Xun’s novels. Yang’s translation aims to reproduce the original sincerity andexquisiteness in Lu’s figures of speech. It describes and analyzes the translation ofmain figures of speech at the level of the diction, the syntax and the meaning.Generally speaking, Yang’s translation tends to adopt literal translation whereverpossible and liberal translation when literal one fails to achieve the semanticequivalence. The optimal equivalence in form, tone and emotion is the target ofYang’s translation. Compared with the other two versions, Yang’s choice of words isdiscreet and concise, trying to achieve the equivalence both in form and meaning. Thepity is that translation without annotation at times fails to rephrase the connotationconveyed in the original, to reproduce the original writer’s psychology in writing or to give consideration to readers’ psychology of entering into the writer’s psychologythrough reading translated works. In translating figures of speech concerning syntax,Yang focuses on the arrangement of different sentence types in concise rhythmiclanguage. Yang’s translation has the least subjectivity in reproducing the concretecontent and the choice of words by sticking the most closely to the ST even in liberaltranslation. He has such a rigorous attitude towards translation that he reads betweenand beyond the lines and tries to reproduce the in-depth connotation in his translation.When translating the figures of speech concerning meaning, Yang’s translation keepsusing literal translation as its main method and aids it with liberal translation.Compared to Lyell’s choice of colloquialism in translation of certain parts, Yang’s useof formal expressions well keeps the comparatively greater formality in style. Heattempts to retain the Chinese cultural images and expressions, weighing greater ofthe original culture than of the readability.
In summary, Yang’s translation of figures of speech is well done by readingbetween the lines and pinpointing the writing psychology of the original writer. Histranslation is a fruit of his translation thoughts, way of expressing, thinking patternand cultural aestheticism.
Then comes Chapter six, which elaborates on the translation of descriptivelanguage. The translation of the description of the characters and environmentreproduces the original writer’s creative mind. Traces of a translator could be found intranslation, which tells of his or her translation psychology. Yang’s translation in thisaspect is the best evidence. This chapter comparatively analyzes the translation ofgeographical surroundings, scenes of killing, and portraits of characters’ appearance,language and actions in Lu’s novels so as to discover Yang’s translating features.
All above, from the perspective of translating descriptive language in novels,Yang’s version is faithful to the original in structure, choice of words and tone. At thelevel of discourse, it reads very smooth and consistent in style. At the level of diction,it is accurate and beautiful. His conscientious attitude toward translation and greatproficiency in English contribute to his great achievement in translation.
Chapter seven is the concluding part. Through three levels of comparative analysis of translated versions of Lu Xun’s novels in light of the choice of words,figures of speech and descriptive language, this research concludes features of Yangs’translation, followed by the analysis of reasons examined from the perspective oftranslator’s translating psychology. The influence of era, purpose of translating,choice of the ST, the identification of intended readers and way of thinking areexamined. Different translation psychological factors bring about different translatedversions. At the very last are the limitations and expectations of this research.
引文
1详见《人物周刊》2010年1月号。
1出自《呐喊自序》
2《南腔北调集<自选集>自序》
1详见《鲁迅概论》p233-234
1详见李炳全著的《文化心理学》一书。
1有关鲁迅本人的介绍主要参考林非、刘再复著的《鲁迅传》。
1有关鲁迅文化心理分析的部分主要参考王瑞著的《鲁迅胡适文化心理比较》一书。
1见赵翼《陔余丛考》。
1详见胡欣华撰写的硕士论文《鲁迅小说中转折连词“然而”的篇章功能分析》。
1详见纪可、石玉在《学术论坛》发表的《译者的定位与文化负载词的翻译——基于<阿Q正传>三个英译本的统计分析》一文。
1出自莱尔The Translations By risking looseness in translation, I hope I have remained faithful to Lu Xun’s textsI have translated as I think Lu Xun might have written had his language been American English rather thanChinese.笔者自译。
2详见华东师范大学吴晓冬硕士论文《译者主体性视野下的鲁迅小说英译本研究——以杨译本与莱尔译本为例》。
3详见《南方都市报》对蓝诗玲的采访文章。
1详见Lovell, Julia China’s Conscience N The Guardian,2010.
2出自莱尔The Translations: Thus, although some of my notes may appear superfluous to some readers, I trustthere will be others who find them useful.
3详见Julia Lovell:A Note on the Translation: In an attempt to enhance the fluency of the text, I have kept use offootnotes and endnotes to a minimum, and where background information that Chinese audiences would takefor granted can be unobtrusively and economically worked into the main body of text, I have taken that option.
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