认知翻译视角下《水浒传》绰号翻译策略比较研究
In this novel, nickname plays an important role in describing and shaping characters and revealing social conditions. As a special name for a figure, nickname comes from the figure’s unusual appearance, characteristics, abilities, etc., and vividly reveals some conditions about the figure it names. Besides, it is also enriched with social and cultural connotations. In ancient Chinese novels, nicknames can be found everywhere and make novels more wonderful.
At the end of 1970s, cognitive linguistics appeared. Along with its rapid development, especially after the publication of Metaphors We Live By written by Lakoff ＆ Johnson, more and more scholars have been attracted to this field. The research on metaphor also attracts much attention, remarked by the word “Metaphormania” (Wang, 2006, p.402).
From the perspective of nicknames’ construction, they are usually metaphors or metonymies. For metaphors, nicknames are mainly connected with ghosts, animals and historical figures. For metonymies, nicknames are mainly based on occupations, appearances and weapons. From the perspective of nicknames’ applicative significance, they are also a phenomenon of cognition and social culture. These provide a basis for this study on nicknames translation in Shui Hu Zhuan from the perspective of cognitive linguistics.
This paper attempts to sort out the nicknames of 108 heroes and compare two well-accepted versions of Shui Hu Zhuan, namely, All Men Are Brothers(translated by Pearl S. Buck ) and Outlaws of the Marsh(translated by Sidney Shapiro ), to study the differences in translating nicknames. Guided by the cognitive linguistics translation, the author analyses the differences. Apart from this, the author will also compare the two English versions with the original work to search out the phenomenon of culture loss in nicknames translation.
Key Words: Cognitive Linguistics Nicknames Shui Hu Zhuan Translation Strategies Culture
摘 要作为我国四大名著之一，《水浒传》在国内外皆享有很高的声誉。它不仅在中国文学上有很大的意义，同时也反映了当时的社会现状与文化现象。
《水浒传》中，绰号在描绘与刻画人物形象以及折射社会状况方面发挥了重要的作用。绰号是对人的一种特殊称谓，通常来源于这个人特殊的样貌，性格，能力等。因此，绰号可以生动形象的反映出该人物的一些情况。除此之外，绰号还蕴含着丰富的社会与文化内涵。在中国古典小说中，绰号可谓是随处可见，也正是绰号的应用，为小说增色不少。
认知语言学出现于19世纪70年代末。随着认知语言学的迅速发展，尤其是在L﹠J的《我们赖以生存的隐喻》出版后，越来越多的目光为之吸引。对于隐喻的研究同样如是，正如一词所言“隐喻狂热”。
从绰号的语言构成来看，它们一般是通过隐喻或转喻构成的。隐喻以鬼神，动物，历史人物为主，转喻则以职业，相貌，武器为主。从绰号的应用意义来看，绰号同样是一种认知与社会文化现象。这为从认知语言学的角度对《水浒传》绰号英译的研究提供了基础。
本文将《水浒传》中108将的绰号进行分类并找出赛译本与沙译本在绰号翻译方面的区别。在认知语言学翻译观的指导下，笔者对这些区别进行分析。除了译著之间的对比分析，笔者还将译著与原著相比较，分析译著中的文化缺失现象。
关键词：认知语言学 绰号 水浒传 翻译策略 文化
上一篇：BEC商务英语函电文体特点分析