跨文化翻译中的文化缺省及翻译策略——以杨译本《红楼梦》为例
试从杨译《红楼梦》谈归化和异化两种翻译策略的结合
试从杨译《红楼梦》谈归化和异化两种翻译策略的结合摘要：翻译最终目的是寻求不同文化间的交流。
归化和异化是基于文化层次的两种翻译策略。
这两种翻译策略在《红楼梦》翻译中对英语读者所产生的效果和传达《红楼梦》的中国特色起着重要作用。
从《红楼梦》中的人名、称呼以及诗词的翻译可看出只有将两种翻译策略有机结合，才能更好地让外国读者接受、理解这一最具中国特色的文学作品。
关键词：异化；归化；翻译策略；文化翻译体现在语言间的转换，其实质是文化间的碰撞和冲突。
在如何处理文化因素方面，翻译界一直存在着归化和异化两种不同主张。
归化论者认为译文应依从于读者，采取认同目的语文化的策略；异化论者则认为译文应依从于原文作者，尽可能保留源语文化韵味，实现传播异国文化的目的。
归化和异化是一种理论体系下的两种主张，它存在于整个文化系统之中。
二者是对立统一，相依相存的关系。
作为两种语言转换活动的翻译存在着文化与文本双层的矛盾。
在文化层面，归化、异化的争论在于要不要引入异语文化，要不要如实传递异语文化形象，要不要输入异语思维方式。
在文本层面，焦点是应用什么样的语言方式来翻译，是不是应该阻断源语文化成分。
简言之，异化就是让读者体验陌生，以便可以接触异国文化。
归化则是通过译者的修改，抹去文本表达的源语表达方式，通过对翻译的支配，将异国的文化改头换面。
杨宪益和戴乃迭合译的《红楼梦》是最好的英文译本之一。
一、人名的翻译：《红楼梦》中的人名与其它小说的最大不同是作者在人物的命名上使用了双关，赋予了人名更多的含义，从而实现了相当的幽默效果，杨氏使用了异化策略，保留了名字的音译，但为了更充分传达原文之意，译者亦使用了归化手段，额外加注，即（homophone for “true facts concealed”；homophone for “f iction in rustic language”），进而说明了名字暗含的意思。
但对下面几个名字如弄丢甄士隐女儿的家人霍启（第一回）、被薛潘打死的冯渊（第四回）、以及贾芸想求助的娘舅卜世仁（第二十四回）的翻译，译者直接音译为Huo qi，Feng Yuan和Bu Shiren，因为译者没有使用归化和异化相结合的翻译策略，就无法传达作者的隐含之意“祸起”、“逢冤”和“不是人”的意图，也就使得即幽默又内涵丰富的名字被译得索然无味。
红楼梦
我们知道,在交际过程中,交际双方要想达到预期的交际目的,就必须要有共同的背景知识(shared back ground knowledge)或语用前提(pragmatic presupposition),有了这一共同知识或语用前提,在交流时就可以省去一些对双方来说是不言而喻或不言自明的东西,从而提高交际的效率。
对于作者而言，他认为与读者共有的且无需赘言的文化信息,往往就会在文中省去。
这个缺省的成分不在话语中出现,但却可以被特定的文化语境激活于读者的脑海中。
这就是本文要谈的“文化缺省”现象(cultural default)。
“文化缺省”是一个并不常用的术语,指交际双方在交际过程中对双方共有的文化背景知识的省略。
根据语用的经济原则,在交际中,除非有特殊的目的,否则生活在同一社会文化环境中的成员在运用概念时,一般不会将话题图式中所有的信息全部输出,对于交际双方不言而喻的内容,往往加以省略。
这种被交际双方作为共享的背景知识而加以省略的部分叫做“情境缺省”(situational default)。
如果被缺省的部分与语篇内信息有关,叫做“语境缺省”(contextual default),而与语篇外的文化背景有关的,就叫做“文化缺省”。
语境缺省的内容可以在语篇内搜索,文化缺省的部分在语篇内则找不到答案。
文化缺省是一种具有鲜明文化特性的交际现象,不属于该文化的信息接收者在碰到这样的缺省时便会出现意义真空(Vacuum of sense),无法将语篇内信息和语篇外的知识和经验结合起来,从而难于建立理解原语所必需的语义连贯和情境连贯。
原文作者与原语读者之间这种默契很难存在于译者及译文读者之间,给翻译带来了一定的难度。
翻译得当,可以促进文化间的交流,又可保持原文文化缺省的含蓄美和简洁美,否则会使译文读者产生意义真空而对作品难以理解。
关于文本中的文化缺省，之前已有很多人研究过其翻译策略和方法。
本文以《红楼梦》的英译本为例，来探讨杨宪益、戴乃迭就文化缺省所采取的翻译策略。
文学翻译中的文化缺省补偿策略研究r——以《红楼梦》杨译本为例
文学翻译中的文化缺省补偿策略研究r——以《红楼梦》杨译
本为例
杨艳艳
【期刊名称】《职大学报》
【年(卷),期】2017(0)1
【摘要】文化缺省是文学作品中常见的现象.在阐释文化缺省概念的基础上,尝试将其分为三类,即:绝对文化缺省、相对文化缺省和对应文化缺省.以《红楼梦》杨译本为例探析三类文化缺省的翻译补偿策略:绝对文化缺省的补偿手段主要有直译、意译、文内解释等,相对文化缺省的补偿手段主要有直译、意译、替代等,对应文化缺省主要使用直译和音译来补偿.
【总页数】6页(P74-79)
【作者】杨艳艳
【作者单位】石河子大学, 新疆石河子 832000
【正文语种】中文
【中图分类】H059
【相关文献】
1.《史记》英译中的文化缺省及其翻译补偿试探——以杨宪益、戴乃迭译本为例[J], 唐文丽
2.跨文化翻译中的文化缺省及翻译策略——以杨译本《红楼梦》为例 [J], 周婷婷;
3.论文学翻译中译者对文化预设的处理——以《红楼梦》的杨译本和霍译本为例
[J], 杨丽华
4.文学作品的文化缺省与翻译策略——以《红楼梦》杨宪益、戴乃迭英译本为例[J], 成娟辉
5.浅析翻译中的文化补偿策略——以《红楼梦》杨译本为例 [J], 包相玲
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汉英文化对翻译的影响_以_红楼梦_两种译本为例
2007年9月宁夏社会科学No.5.Sep.2007第5期(总第144期)Social Sciences in N ingxia Gen.No.144汉英文化对翻译的影响———以《红楼梦》两种译本为例兰宁鸽(宁夏大学外国语学院,宁夏银川 750021)摘要:中英文化有其悠久的发展历史和深厚的文化底蕴。
每一种语言都与某一特定的文化相对应,中英两种文化决定了中英两种语言存在差异的必然性。
了解中西文化差异是做好翻译工作的根本。
本文从《红楼梦》两种译本的比喻翻译谈中英文化差异对翻译的影响,以便能有效地指导翻译。
关键词:文化;语言;差异;翻译中图分类号:G04 文献标志码:A 文章编号:1002-0292(2007)05-0118-0420世纪70年代,我国翻译家杨宪益夫妇与英国汉学家霍克斯先生各自把名著《红楼梦》翻译成两种英文版本,在世界文坛上引起了很大的轰动,受到了翻译家和英文读者的高度赞扬,为传播中国文化作出了他们的巨大贡献。
不同的民族在漫长的历史进程中孕育了独具特色的文化。
杨宪益先生和霍克斯先生民族不同,生长地域不同,是受中英两种文化熏陶教育的学者,他们二人的翻译因文化不同而不同(虽然各有千秋),因为语言是文化的一部分,并对文化起重要作用。
语言反映一个民族的特征,它不仅包含着该民族的历史和文化背景,而且蕴含着本民族对人生的看法、生活方式和思维方式。
一、民族文化对翻译的影响民族文化是指由历史发展和社会遗产所形成的文化,各个民族由于其历史发展各异,在其漫长的民族历史长河中所形成的文化也不相同。
英美文化的主线是个人主义(或称个人本位),强调人控制自然、战胜自然的主观能动性。
在西方,古希腊、古罗马的哲学家们从一开始就把目光投向自然,探求自然的奥秘和征服与主宰自然,做自然的主人。
西方商业社会海上航运的冒险生涯,以及在其中不可避免地遇到难以把握的自然规律使西方人时刻感受到人与自然的尖锐对立和激烈冲突,他们正是在对诡异的自然现象的惊异和困惑中开始哲学探索的。
传播学视域下中国文化走出去与翻译策略选择以《红楼梦》英译为例
三、建构湖湘文化“走出去”的 策略体系
1、人才培养：培养具有国际视野和跨文化交流能力的翻译人才是关键。高校 应加强翻译专业的建设，提高学生的翻译实践能力。同时，要加强对当地翻译 人才的培养和引进，为湖湘文化的翻译传播提供更多的人才支撑。
2、文化遗产保护与传承：湖湘文化拥有着丰富的历史文化遗产，这些文化遗 产的保护与传承是文化“走出去”的重要基础。应加强文化遗产保护意识，加 大对历史建筑、传统工艺等保护力度，避免文化资源的流失。同时，要注重传 统文化的传承与创新，使其与现代社会相适应，为湖湘文化的传播提供更多活 力。
二、翻译传播学在湖湘文化“走 出去”中的作用
翻译传播学在湖湘文化“走出去”中扮演着重要角色。首先，通过翻译传播， 能够让世界更好地了解湖湘文化的内涵和价值，增强文化认同感。其次，翻译 传播能够有效地解决跨文化交流的障碍，推动湖湘文化走向世界。此外，通过 翻译传播还可以促进湖湘文化的传承与发展，提高文化软实力。
此外，我们还需要认识到，《红楼梦》的英译不仅仅是一个语言转换的过程， 更是一个文化传播和交流的过程。在这个过程中，译者不仅需要有扎实的语言 基础，还需要有深厚的文化素养和对目标文化的理解。因此，我们需要培养更 多的翻译人才，提高他们的跨文化意识和能力，以便更好地承担起传播中国文 化的重任。
最后，我们要看到，《红楼梦》的英译只是中国文化“走出去”的一个方面。 在全球化的大背景下，我们需要以更加开放的心态，积极参与到世界文化的交 流中，让中国的文化元素在世界范围内得到更广泛的传播和认同。只有这样， 我们才能真正实现文化的全球化。
三、翻译策略选择：《红楼梦》 英译本的启示
面对这些挑战，《红楼梦》的两个英译本，即霍克斯的《The Story of the Stone》和杨宪益、戴乃迭夫妇的《A Dream of Red Mansions》，为我们提 供了不同的翻译策略。
浅析文化词汇翻译——以《红楼梦》两译本词语为例
浅析文化词汇翻译——以《红楼梦》两译本词语为例摘要：文化词汇翻译离不开对语篇语境的分析。
同一词语受语境的制约在不同的语篇中意义不同。
翻译时保持词语文学上的准确性、原创性和文体风格对译者来说是个很大的挑战。
我们试以《红楼梦》两个译本中的词语为例，探讨语境对词义的影响和文化词汇的翻译方法。
关键词：文化语境文化词汇《红楼梦》翻译一、引言翻译是一种跨语言、跨文化的交际活动，译者除了要对语言进行分析以外，还必须关照大的文化语境。
迥然相异的文化背景使汉语和英语的词汇在不同语本中的分布和理解不尽相同。
在翻译时，我们往往借助词典来确定某个单词的词义。
但是在词典中，词义虽然通用客观，但也是死板的、缺乏生机的。
具体语境中词语的意义绝非靠词典中孤立的义项能确定，词义与其所处的句、段、篇，乃至更宽泛的非语言语境，如情感、文化、社会等因素密切相连。
为明确词义，翻译时文化语境是必须要考虑的因素。
文化语境（cultural context）一词最早由波兰人类语言学家B.Malinowski在分析“语境”的时候和情景语境（situational context）的概念并列一起提出。
20世纪90年代，对于翻译语境的研究，英美两国出现了两种不同的理论取向。
英国翻译理论家受功能主义语境观的影响，关注情景语境和翻译的关系（代表人物：伦敦功能学派J.R.Firth和Halliday）；美国翻译理论家则更多强调文化语境对翻译的影响。
Nida认为译者必须超越文字本身，参照文化来实现对源文本的理解和再创造（Nida.E.A2006：56）。
他说，要成为一名称职的译者，熟悉两种文化甚至比掌握两种语言更重要。
Daniel Shawn也提出：“翻译语境是翻译过程中聚合起来的文化互动的总合。
”Andre Lefevere则更加注重译者的主观能动性，甚至认为翻译的改写和操纵在本质上应被视为一种文化上的必然。
他强调翻译研究在客观的文化语境中受到的影响，提出译者除了要考虑原作者意图、源文本相关特征外，还要考虑翻译目的、文本功用、读者期待和反应，甚至委托人和赞助人的要求、作品出版发行机构审核等一系列与目标或接受文化相关的因素。
从目的论看文化负载词的翻译：以红楼梦为例
从目的论看文化负载词的英译--以红楼梦为例摘要《红楼梦》原名《石头记》，作者是清朝中期著名作家曹雪芹，红楼梦是中国四大名著之一。
本文以杨宪益夫妇所译红楼梦英译本为分析文本，以目的论为基础，重点分析在跨文化交流过程中，杨宪益夫妇是如何处理文化负载词的翻译的。
文化负载词是一个国家一个民族文化的缩影和焦点，如何向西方读者忠实地传播中国特有的文化是翻译过程需要考虑的重要问题。
同时这个问题也是杨宪益夫妇在翻译过程中一直所重视的。
本论文将试析在翻译过程中杨宪益夫妇是如何采取多种翻译策略从而达到自己忠实地向西方读者传播中国优秀文化的翻译目的。
全文共四个部分。
第一部分简单介绍了此论文的研究目的与意义和此课题在国内外的研究现状。
第二部分介绍了论文的理论基础—目的论。
第三部分介绍目的论视角下文化负载词的定义以及分类。
第四部分介绍杨宪益夫妇英译本红楼梦中文化负载词的翻译方法。
第五部分为论文总结部分。
关键词：目的论;文化负载词;《红楼梦》英译本ON TRANSLATION OF THE CULTURALLY-LOADED WOEDS FROM THE PESPECTIVE OF SKOPOSTHEORY:A CASE STUDY OF A DREAM OF REDMANSIONSAbstractA dream of Red Mansions, formerly known as the Story of the Stone, was written by Cao Xue-qin, who was a great writer in the mid-eighteenth century in the Qing dynasty. It is considered to be one of the greatest classic works of Chinese literature. The thesis regards the A dream of Red Mansions as analyzing text, focuses on how the Yangs to deal with the translation of culturally-loaded words during the cross-cultural communication.This text will have an analysis of the Yangs how to take a variety of translation strategies to achieve translation purposes, namely is spread Chinese excellent culture faithfully to Western readers. It consists of five parts. Part one makes a brief introduction to the purpose and significance of studying the topic and the research status at home and abroad. Part two studies Skopos Theory . Part three introduce the definition and the classification of culturally-loaded words. Part four studies the translation method of culturally-loaded words in the Yangs’English version of A dream of Red Mansions.The last part makes a conclusion.Key words: Skopos Theory; culturally-loaded words；A Dream of Red MansionsContents1. Introduction (3)2. Skopos Theory (3)2.1The Origin and Development of the Skopos Theory (3)2.2 Main Rules of Skopos Theory (6)2.2.1 Skopos Rule (3)2.2.2 Coherence Rule (4)2.2.3 Fidelity Rule (4)2.2.4 The Relationship Among the Rules (4)3. Culturally-loaded Words in A Dream of Red Mansions in Light of Skopos Theory (5)3.1 The Definition and Classification of Culturally-loaded Words (5)3.2 Culturally-loaded Words Related to Ecological Culture (8)3.3 Culturally-loaded Words Related to Linguistic Culture (6)3.4 Culturally-loaded Words Related to Religious Culture (7)3.5 Culturally-loaded Words Related to Material Culture (7)3.6 Culturally-loaded Words Related to Social Culture (8)4.Approaches Applied in Translating the Culturally-loaded Words in A Dream of Red Mansions (9)4.1 Literal Translation (9)4.2 Literal Translation Plus Annotation (10)4.3 Transliteration Plus Annotation (11)4.4 Free Translation (12)4.5 Substitution (153)4.6 Culture Replacement (16)5.Conclusion (17)Bibliography (17)On Translation of the Culturally-loaded Words From the Perspective of Skopos Theory: A Case Study of A Dream of RedMansions1. IntroductionIn the era of economic globalization and cultural diversity, cultural exchangebetween different nations accelerates the assimilation and integration of different cultures. As the carrier of culture, language plays an important role in cultural exchange．Word，the basic unit of language, is the direct reflection of culture. Thus, it is of great importance to probe into the translation of Chinese culture-loaded words for the sake of cultural exchange. China is featured by its long history and magnificent culture，with numerous Chinese culturally-loaded words. However, the great cultural differences between China and the western countries pose acute problems to the translation of Chinese culturally-loaded words．With the imbalance of E-C translation dominating China now, it is of great urgency and necessity to translate more Chinese literary works abroad，in the context of cross-cultural communication，more emphasis should be put on the translation of Chinese culturally loaded words. Thus translator should enrich their academic knowledge as well as improve their cultural awareness，so as to spread Chinese culture abroad and smoothly carry on cross-cultural communication.A Dream of Red Mansions contains abundant cultural phenomena of Chinese society,including social order,social convention, cultural values, religion, philosophy, painting, poetry, allusion, medicines, etc. No wonder the novel is said to be “the encyclopedia of ancient Chinese culture”. With its charming attraction, it has not only appealed a large number of translators in china, but also has captivated numerous translators in the world.A Dream of Red Mansions has been studied by many scholars in china and in the world, and the popular study has developed into a special literature field, in which called “redology”(红学). The study of the eighteenth century Chinese novel A dream of red mansions has long been a subject of international scholarship and ever since the late seventies there has been an unprecedented bloom of “redology”. The greatpopularity of A Dream of Red Mansions has caught literary translators’ attention and has aroused their interest in introducing the novel to the people of the world. “So far, A Dream of Red Mansions has been translated into various versions in 23 languages. Up to now, nine different versions have been produced”(陈宏薇、江帆，2003/5; 46). Among which only two of these versions are complete and most popular. One is translated by The Yangs titled A Dream of Red Mansions, and the other titled A Story of the Stone by David Hawkes.These two versions are very successful and are highly praised by the translators and theorists, most importantly, by the readers at home and abroad. Professor Zhou Jueliang made his comment on the versions may serve as an example:Despite different styles presented in the two version, both of them achieved the goals set by the translators. The version by David Hawkes is famous for its elegance, while the Yangs’is remarkable for its accuracy. If reading them together, those who are unable to read the original will acquire the real and complete picture about this novel as they do read the Yangs’ version, which has been immediately accepted as the most popular one ever since it first appeared. It has attracted wide ranges of readers, not only in china but also in English speaking countries. It succeeds in transmitting Chinese culture to the outsider world and promoting the intercultural communication (周珏良, 1994: 30).2. Skopos Theory2.1The Origin and Development of the Skopos TheoryThe skopos theory was first proposed by Kantharina Reiss in the late 1970s. She advocated that translation criticism should be classified by the function of the target text and categories of the reader. Later, one of Reiss’s students, Hans Vermeer basedon the Conduct Theory and further developed it, then he created skopos theory. Hans Vermeer first put forward the basic principles of skopos theory in the article framework fora general translation theory in 1978. And in 1984 he and Reiss in collaboration with the book groundwork for a general theory of translation, in the book, Vermeer come up that “translation is a kind of source text-based, purposeful , interpersonal cross-cultural verbal communication behavior”. The essence of the translation is cross-cultural communication, translation purpose translate strategies is decides by translation purposes. In addition, two other German translator Justa Holz. Mantari and Christiane Nord had made further development of the theory. Mantari based on the Behavior Theory to defined translation as a complex behavior that is designed to achieve a specific purpose. She emphasized behavioral aspects of the translation process, and analyze the respective roles of Participants (launcher, translator, user, receiver) in translation process and their context conditions in the process. As the new generation of German School, Nord proposed “loyalty principle”, and applied it to the field of translator training, interpretation, literary translation and some others.2.2 Main Rules of Skopos Theory2.2.1 Skopos RuleSkopos is a Greek word for “aim” or “purpose”. “The top-ranking rule for any translation is the skopos rule” , which means that a translation action is determined by its skopos.Vermeer also stresses on many occasions that the skopos rule is a general rule, and translation strategies and methods are determined by the purpose and the intended function of the target text.2.2.2 Coherence RuleThe coherence rule states that the target text must be interpretable as coherent with the target text receiver's situation. In other words, the target text must be translated in such a way that it is coherent for the target text to receive, and give their circumstances and knowledge.In terms of coherence rule, the source text is no longer the most authority but only part of the translation belief. It is only an offer of information for the translator, who in turn picks out what he considers to be meaningful in the receiver's situation. 2.2.3 Fidelity RuleTranslation is a preceding offer of information. It is expected to bear some relationship with the corresponding source text. Vermeer calls this relationship as “intertextual coherence” or “fidelity”. This is postulated as a further principle, named as the“fidelity rule” by Reiss and Vermeer in 1984. The fidelity rule merely states that there must be coherence between the translated version and the source text.2.2.4 The Relationship among the RulesFidelity rule is considered subordinate to coherence rule, and both are subordinate to the skopos rule. If the skopos requires a change of function, the criterion will no longer be fidelity to the source text but adequacy or appropriateness with regard to the skopos. And if the skopos demands inter-textual incoherence, the standard of coherence rule is no longer vivid.3.Culturally-loaded Words in A Dream of Red Mansions in light of Skopos Theory3.1 The Definition and Classification of Culturally-loaded WordsIn the language system, the words which can best embody the language carring cultural information and reflecting the social life of human is culturally-loaded words.culturally-loaded words refer to which convey a certain kind of cultural connotations or associations which may not be found in other languages and cultures. In addition, Culturally-loaded words include the proverbs, idioms, allusions, set phrases, and other Chinese culturally specific words or expressions. “Nida claims that, as translators, if we want to do a good job in cross-cultural communication, there are five types of cultures we should be fully aware of: ecological culture; linguistic culture ; religious culture; material culture; social culture ” (quoted from Hu Zhuanglin, 2001:227).Based on these five types of sub-culture, culturally-loaded words in A Dream of Red Mansions can be classified into five categories, namely, they are respectively culturally-loaded words related to (1)ecological culture; (2)linguistic culture;(3)religious culture; (4) material culture; (5)social culture. Each category will be studied in great detail in this section.3.2 Culturally-loaded Words Related to Ecological CultureIn Longman Dictionary Contemporary English (New Edition) (2001:470), “ecology” is defined as “the pattern of relations of plants, animals and people to each other and to their surroundings”. Therefore ecological culture includes many aspects of people’s living environment, such as the air, water, animals, plants, forest, minerals etc, and words or expressions related to ecological culture are the reflection of characteristics of the climate, geographic environment and natural surroundings of a certain language community. Due to different geographical locations and distinctive living environment, people’s cognition of the nature varies varies from one culture to another, and people in different language communities tend to apply different concepts to express the nature. Besides, there are some animals, plants, or places etc. Existing in one culture but not in another. So each language community has a large number of words and expressions peculiar to its ecological culture. The writer of ADream of Red Mansions has used an abundant of ecological culturally-loaded words in this novel. Some of the words are about plants and flowers, such as “松” , “兰” , “梨花”and there are other culturally-loaded words indicate geographical locations difference, for example: “东风”，because of geographical location, the Chinese people associate the east wind with warmth, life and comfort, and it symbolizes spring, hope, and aspiration. However, west wind is often related to cold and winter.3.3 Culturally-loaded Words Related to Linguistic CultureLinguistic culturally-loaded words are those words or expressions unique to a specific language system, and they are the reflection of characteristics of the phonetic, grammatical and formal system of a certain language community. The most significant characteristics of these words and expressions lies in the audio or visual effects produced by these systems. China has a long history and splendid civilization, and Chinese people have developed a sea of unique linguistic expressions, such as two-part allegorical sayings, reduplication words, homophones, vowel rhymes, puns, four-character idioms and so on. Beside, china is a vast country with a large population. The regional differences give rise to language differences, and a large variety of dialects are used in different areas in china which have no equivalents in other languages. In A Dream of Red Mansions ,there are a lot of idioms and proverbs, such as “万众一心”, “万水千山” , “万古长青”, “万人空巷”, “天上少有，地上无双” and so on, which are commonly used in the Chinese culture.3.4 Culturally-loaded Words Related to Religious CultureReligion is one of the essential components of culture, and it is very important to know well the religion of a language community if one wants to understand its culture. With the development of history and evolution of time, different nations have different religions. Therefore, the Chinese people’s religious beliefs greatly differfrom those of the westerners who are generally influenced by Christianity. Overall, the Chinese people are greatly influenced by Confucianism, Taoism and Buddhism. Since the religious culturally-loaded words and expressions are the reflections of the characteristics of the religious belief and traditions of a certain language community, it can be easily concluded that Chinese religious culturally-loaded words are those closely related to Confucianism, Taoism and Buddhism, such as “佛” (Buddha), “菩萨”(Bodhisattva), “借花献佛”(to present the borrowed flowers to Buddha, which refers to offer presents provided by someone else or to borrow something to make a gift of it), “神仙” (celestial being), “火克金”（The element of fire overpowers that of metal), and so on.In A Dream of Red Mansions, there are also a good deal of religious culturally-loaded words and expressions, for example, “神仙”，“仙葩”，“奇缘”，“今生”，“仙界”，“天”，“菩萨”，are all related to religious culture.3.5 Culturally-loaded Words Related to Material CultureAs representatives of the material culture created by the people of a certain language community, material culturally-loaded words include those words and expressions for food, clothing, money, medicine, daily appliances, tools of production and transportation etc, which are peculiar to that community. Usually we can find their referents in the real life. With a long history and glorious civilization, China is abundant in this type of culturally-loaded words and expressions describing those unique materials or objects.There are also a large number of material culturally-loaded words exist in A Dream of Red Mansions. Such as “阴阳两宅”（accommodation for both the dead and the living）,“玉石牌坊”（a marble arch）,“长命锁”（a longevity locket）,“护身符”（a lucky charm）,“凤冠霞帔”（ceremonial dress）are all expressing materialcultural meaning.3.6 Culturally-loaded Words Related to Social CultureSocial culturally-loaded words are the reflection of the traditions, customs, life style, historical background, behavior patterns, and social life of a specific language community. These aspects differ greatly from one culture to another, therefore, each nation has its own specific social culturally-loaded words which may have no equivalent expressions in another culture. And moreover, each ethic group or country has its own distinctive ways of addressing to relatives, preference for colors, and unique ways of phatically communicating with others, etc. For instance, China is a country attaching great importance to etiquette, and “courtesy”(礼)is the basic norm of Chinese morals in all ages. Chinese people tend to use humble terms to address themselves and honorific titles to address others in communication to behave courteously and mannerly. These words and expressions are highly abundant in Chinese, 例如“鄙人”（I）, “内人” (my wife), “犬子” (my son), “小女” (my daughter), “愚见”(my opinion), “拙作”(my article)etc, are the typical humble expressions in Chinese. While“令尊”(your father), “令堂”(your mother), “令爱”(your daughter), “令郎”（your son）, “高见”（your opinion）, “高论”（your remarks）etc, are used to show respect and courtesy to the hearer in Chinese communication. All these terms and expressions belong to the social culturally-loaded words, which are unique to Chinese culture and carry strong pragmatic meaning.In A Dream of Red Mansions, there are many social culturally-loaded words, such as 表字(courtesy name), 重阳(The Double Ninth Festival)，端阳(The Dragon-Boat Festival ) and so on.4.Approaches Applied in Translating the Culturally-loaded Words inA Dream of Red Mansions4.1 Literal TranslationLiteral translation refers to an adequate representation of the original, it is a type of translation in which more attention is given to preserving the SL wording intact than to producing a naturally reading TL, also known as word-for-word translation. It strives to reproduce both the ideological content and style of the entire work and retain as much as possible the figures of speech and sentence patterns or structures. Example:“......等我性子上来，把我“醋罐子”打个稀烂，他才认的我呢！”（《红楼梦》第20回）“...one of these days when I really lose my temper, I’m going to give that vinegary bitch a good beating to show her who’s master here.”Vinegar as a food seasoning, it is common in china and abroad, But vinegar has different cultural connotations in two cultures. In Chinese ,the meaning of vinegar is often extended to jealousy on the psychological relationship between men and women,while in English, it is used to describe the harsh vinegar person. And here Jia Lian scolded Wang Xifeng, is used to describe the jealous characteristics of Wang Xifeng.In dealing with the phrase, Yang, Hsien-yi used the literal translation and literally translated it into vinegary bitch,his intention is to introduce the deep meaning of vinegar in the Chinese culture to the target language readers. It is simple and easy for readers to understand. However,“醋”here will cause misunderstanding, vinegary bitch only impressed the reader with a harsh vinegar person, and it fails to convey the meaning of jealousy of Wang Xifeng. Obviously, important cultural information haslost in this translation. In another way, Hawkes translated“醋”into jealous，which is more precise, because it retained the extended connotation meaning of vinegar.4.2 Literal Translation Plus AnnotationThis is most commonly used method in the translation of culturally-loaded words. When it is not easy for the target language readers to accept the text literally, in order to preserve the cultural characteristics of the source language, the vocabulary can be literally translated on the basis of notes for further explanation. Such as: Yang Hsien-yi in the translation of the word “老君的仙丹”，first literally translated it as “Lao Tzu with a magic elixir”, then attaching footnote added:" According to Pilgrimage to west, a 16th century novel by Wu Cheng-en, the founder of Taism Lao Tzu became an immortal after his death and distilled elixirs in the lelestial Region" so that they can make the target language readers to fully understand the culture feature of the word.4.3Transliteration Plus AnnotationThis method is also a commonly used method in the translation, especially apply to translate culturally-loaded words, when use the transliteration to translate the words, but can not express exactly the meaning of them, then add a footnote to explain them in order to preserve the cultural characteristics of the source language.Example:宝钗听说，不由的大怒，待要怎样，又不好怎样。
《2024年文化翻译策略的多样性与多译本互补研究——以《红楼梦》与《聊斋志异》英译本为例》范文
《文化翻译策略的多样性与多译本互补研究——以《红楼梦》与《聊斋志异》英译本为例》篇一一、引言在全球化背景下，翻译已成为不同文化之间交流与沟通的重要桥梁。
翻译的目的是传达原文的含义，同时也需要考虑目标语言文化的接受度。
尤其是对于一些具有丰富文化内涵的文学作品，如中国的四大名著之一的《红楼梦》和《聊斋志异》等，其翻译的多样性和多译本互补性更显重要。
本文以这两部作品为例，对文化翻译策略的多样性与多译本互补性进行深入探讨。
二、文化翻译策略的多样性1. 直译与意译直译和意译是翻译中常用的两种策略。
直译强调保持原文的形式和结构，而意译则更注重传达原文的含义。
在翻译《红楼梦》和《聊斋志异》时，这两种策略常常交替使用。
例如，对于一些具有特殊文化背景的词汇或表达方式，直译可能无法准确传达其含义，此时意译则能更好地解释其含义。
2. 归化与异化归化和异化是文化翻译中的两种重要策略。
归化策略强调将原文的文化元素融入目标语言文化中，使读者更容易理解；而异化策略则更注重保留原文的文化特色，让读者了解异国文化。
在翻译《红楼梦》和《聊斋志异》时，这两种策略的运用也需要根据具体情况来决定。
三、多译本互补性由于翻译者的理解、语言风格和翻译策略的不同，同一部作品往往会有多个不同的译本。
这些译本之间存在互补性，可以相互借鉴、相互补充。
例如，《红楼梦》和《聊斋志异》的多个英译本在保留原文文化特色的同时，也考虑到了目标语言读者的接受度，从而形成了各自独特的风格和特点。
这些译本之间的互补性使得读者可以从中获得更丰富的阅读体验。
四、《红楼梦》与《聊斋志异》英译本的实践分析1. 直译与归化策略的运用在《红楼梦》和《聊斋志异》的英译本中，直译和归化策略的运用较为普遍。
例如，在翻译一些具有中国特色的词汇时，译者往往会采用直译加注的方式，同时辅以归化策略来解释其含义。
这样既保留了原文的文化特色，又使得目标语言读者更容易理解。
2. 意译与异化策略的运用在处理一些抽象或深奥的表述时，意译和异化策略的运用显得尤为重要。
从英译《红楼梦》看文化差异对翻译的影响
从英译《红楼梦》看文化差异对翻译的影响[摘要]在汉译英过程中，一些对源出语读者来说显而易见的文化内容，对于译入语读者来说却很难理解，非常容易造成翻译中的文化缺失。
本文通过对杨宪益和霍克斯所译《红楼梦》的比较分析，讨论译者在翻译时采用的方法，衡量这些方法的得失。
力求从多个角度探讨译者不同的文化背景以及中西方文化差异对汉英翻译可能造成的影响。
[关键词]红楼梦跨文化翻译归化法异化法文化差异一、引言百余年来，不少中国传统典籍被译成了英语，这对弘扬中国文化起到了积极作用。
但是如何处理文学作品中文化因素的翻译，成为了学术界人士日渐关注的问题之一。
地域、民族、历史、文化和思维方式的差异形成了文化的异质性，使翻译过程充满了矛盾，出现了“文化缺省”“文化冲突”的现象。
《红楼梦》是中国长篇小说创作的巅峰之作。
这部著作目前已有多个英译本，其中最出名的是我国翻译家杨宪益及其夫人所译的The Dream of Red Mansion （以下简称杨译本），以及英国著名汉学家、翻译家大卫·霍克斯所翻译的The Story of the Stone（以下简称霍译本）。
现以这两个英译本为例，探讨译者的中西文化差异对其翻译作品造成的影响。
二、中西文化差异对汉英翻译的影响1. 从人物姓名、称呼语的角度来看在翻译贾府中主要人物的姓名时，杨译本大多采用了音译法，即transliteration，如将贾宝玉的名字音译为Pao-yu，甄士隐译为Shi-yin，李纨译为Li-wan，王熙凤译为Hsi-feng等，丫鬟仆人的名字也多为音译。
这样翻译的优点在于符合人名翻译的惯例，使源出语读者在阅读时有所参照和对应，便于源出语读者的理解。
同时这一译法也存在一些缺点：目的语读者无法从这种翻译中获得与源出语读者同等的信息和艺术享受，从翻译的文化对等角度来看出现了缺失。
而这点在大多使用意译法翻译人名、称呼语的霍译版本中就得到了一定的弥补。
例（1）：第三十五回——“白玉钏亲尝莲叶羹黄金莺巧结梅花络”杨译：Yu-chuanTastes Some Lotus-leaf Broth；Ying-erh Skillfully Makes a Plum-blossom Net霍译：Sulky Silver tastes some lotus-leaf soup；and Golden Oriole knots a flower-patterned fringe从这个例子中我们可以看出音译与意译的效果是有差异的。
《红楼梦》两个英译本对文化差异的处理
摘要:本文通过比较“红楼梦”二个英文全译本,讨论了文化差异对翻译实践的影响,认为译者母语的文化背景差异导致了二个译本之间以及与原文的差异,即翻译受到译者意识形态的无形制约.从跨文化研究角度看《, 红楼梦》某些涵盖文化内容的翻译所出现的问题可以通过脚注或专注,使之既凸现原文的文化内涵,又保持行文流畅.关键词:文化差异;翻译;红楼梦1IntroductionThe Chinese classical novel Hongloumeng has been translated into more than twenty languages with over one hundred translation versions. Out of its six English translation versions, four are translations of selected chapters, two are complete versions. The Story of the Stone is a complete translation in five volumes. Its first three vol2 umes were translated by David Hawkes published in 1973 , 1977 and 1980 respectively , while the fourth and fifth volumes , containing the last forty chapters , were translated by John Minford , the son2in2law of David Hawkes’s , and they were published in 1982 and 1986 by Penguin Books Ltd , Harmonsworth , Middlesex ,England. A Dream of Red Mansions is another complete English version in three volumes translated by Yang Hsien - Yi and Gladys Yang. They were published by Foreignlan2 guages Press, Beijing, China, 1978. These two versions are the most popular English versions and remain to be the only two complete translations as well. Traditionally, translation has been described as comparative linguistic undertaking, wherefore translation has been tackled primarily from the perspective of the differences in language structures. However, this comparative linguistic appraochcould hardly explain the complex phenomenon of translation because inter - lingualcommunication stretches far beyond the mechanics of linguistic similarities andcontrasts just as Nida says :“the meaning of verbal symbols on any and every leveldepends on the culture of language community ,”and“language constitutes a model ofthe culture. ”(C hristine Schuffner & Helen Kelly Holms 1995 : 1)This paper argues that translation is not merely a matter of selecting felicitouse quivalent words, but it is a matter of making intelligible a whole culture. By citing examples with respect to cultural contexts, this paper also reveals that translation is a kind of intercultural exchange , which bridges up the “gap ”or“distance” between two different kinds of cultures.2 Cultural differences as manifested in the two different translations of Hongloumeng2. 1 Mode of thoughtThought patterns vary as cultures differ from one an2 other. According to the diagramfrom Robert B. Kaplan, “Cultural Thought Patterns in Inter - cultural Educa tion”, an English paragraph, which normally follows a straight line of development, is very different from an Oriental paragraph, which tends to follow a circular line of development. In this sense, putting Chinese into English is a matter of how to arrange words together in a sentence because the words and word groups of one language don’t fit together in the same way as the words of another language do. That means each culture has its own special way of thinking. Apart from this, the same words and symbols on many occasions create different images in the mind of people with different culture , or rather , one’s mode of thought could hardly separate from his culture.(1)“你妹妹远路才来,身子又弱,也才劝住了, 快别再提了. ”[第三回P30 ]’So don’t reopen that subject .[ Trans , TheYangs V ol . I P39 ]’So let’s have no more of this.[ Trans. Hawkes V ol . I , P92 ]It is interesting to find that the structure of Professor Yang’s translation is similar to the structure of the original Chinese, which is subject - matter prominent, while Professor Hawkes’translation is consistent with the English way of arranging word order. The addition of words “Let’s” indicates, unlike Chinese, English is a subject prominent language. By domesticating the form of language, Hawkes has made the rendering more readable and comprehensible to the English readers and meanwhile retains the original stylistic color.(2)“Take renditions of“东风”from Bao Yu’s“怡红快绿”for another example :’对立东风里, 主人应解怜. ’[第十八回P211 ]’Facing each other in the soft east wind.[ Trans. TheYangs V ol . I , P261 ]’Their mistress , standing in the soft summer breeze.[ Trans. Hawkes V ol . I , P370 ]“东风”is a word with Chinese cultural flavor. It is literally translated into “east wind” by Professor Yang, and freely rendered into “summer breeze” by Professor Hawkes. This indicates each of them looked at the text in quite a different way , and therefore applied different methods to the translation practice : Professor Yang’s is semantic translation focusing primarily upon the semanticcontent of the source text and Professor hawkes’communicative translation focusing essentially upon the comprehension and response of receptors. Owing to the differ2 ence of geographical position some of the words carry dif2 ferent conceptualmeaning : in Chinese classic Qu’s and Ci’s ,“东风”refers to“spring breeze”Take the lines from“The Romance of Western Bower”(西厢记) written by Wang Shifu( (元)王实甫) for example“, 可正是人值残春蒲郡东,门掩重关萧寺中;花落水流红,闲愁万种,无语笑东风. ”(1996 : 2) In this discourse ,we are here in late spring , so it gives hint for people to recognize that the Chinese“east wind”actually refers to the“spring wind”. But what for the“east wind”in the mind of English peo2 ple ?Dickens wrote in one of his novels :“How many win2 ter days have I seen him , standing blue - nosed in thes2 now and east wind !”(钱哥川1981 : 31) This shows “east wind”in English isassociated with winter , and is often modified by such words as keen , biting and pierc2 ing. Considering the cultural factor and readership , Pro2 fessor Hawkes put“东风”into English“summer breeze”to bridge up the culture difference , forliteral translation without annotation would be misleading.2. 2 ValuesValues are overt expressions of what is considered good or evil , beautiful orugly , and right or wrong. They are standards by which we judge the actions andpositions of ourselves and others. ( Gail B. Ellenbaum & Charles O. Ellenbaum1992 : 37) Individuals in each culture may not accept the same set of values ,and they may express their values differently. As each language reflects andcre2 ates cultural attitudes , each has a unique way of express2 ing values.(3)“贾母王夫人等因素喜李纨贤惠, 且年轻守节, 令人敬服, 今见他寡婶来了,便不肯叫他外头去住. 那婶母虽十分不肯,无奈贾母执意不从,只得带着李纹李绮在稻香村住下了. ”[第四十九回P607 ]’Because the Lady Dowager and Lady Wang appre2 ciated Li Wan’s good qualities and her admirable conduct since her husband’s unt imely death , they would not hear ofher widowed aunt staying anywhere but in their house. So although most reluctant toimpose on them , on the old lady’s insistence Li Wan’s aunt had to move into Paddy - Sweet Cottage with her two daughters. ’[ Trans. TheYangs V ol . II , P128 ]’Grandmother Jia and Lady Wang esteemed Li Wan as a good and virtuous young woman who , having lost her husband at an early age , bore widowhood with fortitude andrestraint. Now that this widowed aunt had arrived , they refused to hear of hertaking lodgings outside , and though the good lady made many polite efforts to decline , insisted that she and her two daughters , Li Wen and Li Qi , should move into Sweet - rice Village and stay there with Li Wan at the family’s expense. ’[ Trans. Hawkes V ol . II. P473 ]Differences between the two translations of“. . . 只得带着李纹李绮在稻香村住下了. ”lie in the aspect of way of thinking. Following the original text, Prof. Yang’s literal translation reveals the politeness and indirectness of Chinese discourse habit and a kind of Chinese national psychology that is avoiding talking about money, which dates from ancient time. Prof. Hawkes’s communicative translation, or rather adding cultural words “stay there with Li Wan at the family’s expense” i ndicates westerners’value orientation. That is money is a powerful thing. They talk about and admire it more openly. For in2 stance, Americans regard money “as a measure of suc cess , and the final guarantee of personal choice. ”(Jane Walmsley2002 : 7) Even between full brothers they will make out bills clearly. This kind of providing background information explains the reason why Grandmother Jia insisted LiWan’s aunt’s staying at Li Wan’s place, and why Li Wan’s widowed aunt was reluctant to stay there. In a word, translation is invisibly restri cted or influenced by ideology.2. 3 Tradition , customs and life style(4) Dining“两边靠门一小桌: 李纨和凤姐,虚设座位,两人皆不敢坐,只在贾母王夫人两桌上伺候. ”[第三十八回P461 - 462 ]“. . . and the small one near the door on the west for Li Wan and His - feng. The seatsat this were unoccu2 pied , however , as they were waiting on the tables of the LadyDowager and Lady Wang. ”[ Trans. The Yangs Vol . I , P461 ]“A little table was laid for Xi - feng and Li - Wan on the west side , of the doorway , but this was only for form’s sake , since both of them remained on th eir feet inorder to wait on the other two tables.[Trans. Hawke V ol . II ,P243]Though both of the translation versions are faithful, Prof. Hawkes’s translation sounds more interesting and expressive. In his translation the cultural words“虚设座位”was turned into“this was only for form’s sake”, and leaves us an impression that Hawkes’s mastery of Chinese is indeed remarkable. It is true in the Hongloumeng when Jia family gave a dinner party; the guests usually sit around as quare table. The respectable one sat at the head of the table with two people sitting on each side. And at the other end of the table no seat is set there for the sake of serving the food according to the Customs of A Dream of Red Mansions (《红楼梦风俗谭》.(5) Ritual of initiation “既要学做诗,你就拜我为师. ”[第四十八回P597 ]“If you want to write poetry you must acknowledge me as your tutor. ”[ Trans. The Yangs V ol . II. P115 ]“You can make your kotow and become my pupil if you like. ”[ Trans. Hawkes V ol . II , P456 ] As an old custom in the past ,“拜师”means mak ing actual kowtow to one’s teacher. Hawkes reveals the his2 torical background to the target readers through histransla2 tion while Prof. Yang’s version gives us a flavor of modern sense which seems not quite go hand in hand with the original .3 Bridging up cultural differences in translation3. 1 TransliterationIn cross - cultural communication, transliteration , which implies the writing of words with characters of an2 other alphabet that represent the same sound or sounds , is one of the most essential way to achieve the source language country’s cultural fidelity.According to the great translator of Buddhist scripture, Xuan Zhuang(600 - 664) ,transliteration can be applied in the following cases , such as incantation ,polysemia , terms to SL country , already accepted translation and on some needed occasions of Buddhism. ( 陈福康1992 ;42) . Apart from this theory, pointed out :“Transcription is mandatory in all the following cases , unless there is already a generally accepted translation likely to be accessible and acceptable to the reader : (a) proper nouns - particularly names of people (except the Pope) and of geographical features ; (b) ad2 dresses (c) names of private firms (d) names of national public and private institutions , unless they are transparent ; (e) terms peculiar to the institutions , ecology and general culture of the SL countries , where there are no equivalents in the TL countries and (f ) titles of newspapers ,periodicals , books , films , articles , papers , works of art , musical compositions. ” ( Peter Newmark 1981 : 154)In all the above cases, the translator may add a translation or gloss, or a cultural equivalent if he thinks this will assist the reader. For example, we can translatethe following proper nouns in this way : Hsien( Immortal) , Wang(king) , Fo (Buddha) ands hen (god) . There2 fore“阿弥陀佛”can be translated into Amitabha if it is connected with Buddhist occasion. Other word like“道”in Taoism should be turned into“Tao”, not“way”.To give national characteristics and to attract reader , some cultural words areoften transferred :“咖啡”,“巧克力”“, 坦克”and“Confucius”are the excellent examples of transliteration.3. 2 ExpoundingExpounding or interpretation is a translating technique used to amplify a text with’ cultural specific’mes2 sages to achieve a high level of precision in specifyin g cultural meaning within SL text. For example:(6)“听见说,我老娘在那一家时,就把我二姨儿许给皇娘庄头张家,指腹为婚. ”[第六十四回P836 ]“I’ve heard Gran say that when she was carrying Aunt Er , her first husband had an agreement with a friend of his called Zhang , who was a manager on one of the Im2 perial Farms and whose own wife was also pregnant at the time. They agreed that if the children their wives were carrying turned out to be a boy and a girl, they should be betrothed to each other. In that way Aunt Er was engaged to the Zhang’s boy from the moment she was born.[Trans HawkesVol . III ,P264 ]“指腹为婚”means a prenatal betrothal , an old custom known by Chinese , but as English readership are not supposed to have similar background knowledge , so it is difficult for them to understand the true meaning of it . To solve this problem, Hawkes inserted additional informationinto the text to explain what the custom is without interrupting the readers’ flow of attention. However, the disadvantage is that it blurs the distinction between the text and the translator’s contribution.Some say it is cumbersome, but Nida said: “. . . al2 most all good translations tend to be appreciably longer than their originals. ”(Nida 1964 :131) In this sense expo unding one of the best methods to fill up cultural gap between SL and TL and it shows an appropriate sign of respect to foreign cultures.References:[1 ] Cao Xue Qin , The Story of the Stone [M] . Trans. David Hawkes. Penguin Books , 1973.[2 ] Gail B. Ellenbaum and Charles O. Ellenbaum , Cultural Anthropology[M] . Prentice-Hall ,Inc. 1992.[3 ]Tsao Hsueh - chin and Kao Hgo , A Dream of Red Mansions.Trans[M] . Yang Xianyi and GladysYang. Foreign LanguagesPress : Beijing , 1994[4 ]王实甫. 西厢记[M] . 上海:上海古籍出版社,1996 ,6[5 ]邓云乡. 红楼梦风俗谭[M] . 北京:中华书局出版,1987 ,10.[6 ]周汝昌. 红楼梦辞典[M] . 广州:广东人民出版社,1987 ,12.[7 ]陈福康. 中国译学理论史稿[M] . 上海:上海外语教育出版社,1992[8 ]陈文伯. 理解与表达- 红楼梦英译本学习札记[J ] . 翻译通讯,1982 , (2) .[9 ]姜其煌. 红楼梦的欧美译本,中国当代翻译百论[M] . 重庆大学出版社,1994.[10 ]钱哥川. 翻译的的基本知识湖南科学技术出版社,1981 ,4[11 ]曹雪芹,高鹗. 红楼梦[M] . 北京:人民文学出版社,1974, 第3期。
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但这种方式不利于原语文化传播 ， 如果使用过度的 话还会将原语 文化一并排除掉。在翻译《 红楼梦》
时译者多次使用意译法 ， 如“ 三五中秋夕 ， 清游拟上 元” ， 作者利用 三五相乘 的析数修辞手法含 蓄的表 达出十五的语意 ， 但在英语 中却 没有这样 的修辞手 法， 因而在翻译时译者采用意译的方式将其直接译
２ ０ ｔ ４年第 ０ ２期 第３ Ｏ卷 （ 总３ ６ ２期）
吉林省教育学院学报
Ｊ ＯＵ Ｒ ＮＡ Ｌ ＯＦ ＥＤ Ｕ ＣＡ Ｔ Ｉ ＯＮ Ａ Ｌ Ｉ Ｎ Ｓ Ｔ Ｉ Ｔ Ｕ ＴＥ ＯＦ Ｊ 删 Ｐ ＲＯ ＶＩ Ｎ ＣＥ
Ｎｏ ． ０ ２， ２ ０ １ ４ Ｖ札 ３ Ｏ Ｔｏ ｔ ａ ｌ Ｎｎ ３ ６ ２
义疑团 ， 因而接受者在文化缺省状态下 ， 很难将语篇 内信息与语篇外经验相联系。因缺省造成的意义真
空， 使得读者难 以建立起连贯的语义和情境 ， 因而理 解语篇时较为困难。但无论是语境缺省还是文化缺
成分虽然没有 出现在双方话语 中， 但 由于交际双方
都明白缺省的成分 ， 且缺省成分被运用于特定 的语 境中， 于是因缺省而 留下 的语义空 白就会 由接受者 根据 自己的经验 、 文化知识和理解来填充。由于语
化背景和翻译 目的等有着密切的联系。
一
、
跨文 化翻译 中文化缺 省现 象的理 论分 析
文化缺省是交际中普遍存在却又难以察觉的一
种现 象 和交 际策 略 。文 化缺 省是 指在交 际过 程 中为
提高交际效率 ， 按照交际经济原则对交 际双方共有 文化背景知识的省略。这种现象在人们 Ｅ ｔ 常交际中 是一种常见且习以为常的交际策略 ， 这个被缺省的
《 红楼梦》 是 中国古典文学 中最优秀的作 品之
一
言 和文化 背景 的差 异 ， 原 语 作 者 与读 者 之 间 的 这 种
，
它不仅蕴含着深厚的文化底蕴， 而且还具有深刻
的思想价值和卓越 的艺术成就， 因而翻译 《 红楼梦》
并不是翻译一部小说 ， 而是翻译一部涉及中国政治、 经济、 风俗 、 建筑 、 谚语等的百科全书 ， 将这样一部巅 峰之作翻译成英语 ， 并不是一件简单的事情。 目 前， 《 红楼梦》 英译本影响最大 、 最成功的是杨宪益夫妇
收 稿 刚 胡： ２ ０ ｌ ３ 一ｌ １ —０ ２
省都可 以称之为情境缺省。
作者简介 ： 周婷婷（ １ ９ ８ ８ 一） ， 女， 河南禹州人 ， 烟台大学外 国语学院 ， 硕士在读 ， 研究方 向： 翻译学。
１ ６
二、 跨 文化翻 译 中文化 缺省 的翻 译 策略
（ 一） 注释法与 归化 法。注 释法 是指在 翻译 时 为了帮助读者建立起 连贯的语篇 、 体现原语文本的 艺 术价值 和 文学 价值 ， 而采 用文 内直 译 ， 文外 加注 等 注释方式对缺省文化进行填补或修正 ， 以对相关文
实于原 文的形象 ， 最大限度地再现原著。在翻 译过 程 中， 译 者应 当根 据读 者的期待 ， 选择恰 当的翻 译 方法 来表 达 交际意 图。
本 文以杨译本《 红楼 梦》 为例 ， 试 对翻译 中的文化缺 省现 象进行分析 。
关键词 ： 跨文化翻译 ； 文化缺省 ； 翻译策略 中图分 类号 ： Ｈ ３ １ ５ 文献标识码 ： Ａ 文章编号 ： ｌ ６ ７ ｌ —ｌ ５ ８ ０ （ ２ ０ １ ４ ） ０ ２ —０ ０ ｌ ６ —０ ２
俗、 称 谓等 采取 了不 同 的处 理方 法 ， 这 与 翻译者 的文
则和交际的需要输 出重要的或典 型的知识 ， 而将双
方 不言 自明的 内容省 略 ， 因而 在 交 际 时 除非 有 特 殊
的目的， 否则他们不会将所有信息全部输 出。省略
相 同知 识背 景成 分 的缺 省 称 “ 情 境缺 省 ”， 省 略 与语
篇信息有关的缺省称“ 语境缺省” ， 省略与文化背景 有关的缺省称“ 文化缺省” ， 语境缺省在理解上较为 容易处理 ， 一般通过阅读全篇文章或作品就可 以获 得相关 内容 ， 但由于文化缺省是一种鲜明的文化特 征的交际现象 ， 是文化内容运动的结果 ， 文化缺省无 法在语篇内搜索到相关信息 ， 如果 翻译者不对 缺省 内容进行适 当的补偿 ， 就会留给读者难 以理解 的语
为ｆ ｉ ｆ ｔ ｅ ｅ ｎ ｔ ｈ ， 解决了文化障碍带来的理解 困难。在翻
译“ 若非 罢归来 ， 瑶池 不二 ” 中的“ 瑶池” 时译 者采 用
最常用的方法 ， 是指对文中出现的、 文化特性鲜明的
词 语 在页末 加 以解 释说 明 的方 法 。脚 注作 为直译 的
天然默契不可能出现在原语作者与译本读 者之间， 毕竟跨文化交际只有以共 同的文化背景或语用前提 为基础 ， 才能获得正常而顺利的交际， 交际效率才能 得 到提 高 。
生活 在相 同文 化环境 中的人对 社会 文化 知识 有 着 相 同的认 知 ， 在 交 际 时往 往 会 根 据交 际 的经 济 原
翻译的《 Ａ Ｄ ｒ ｅ ａ ｍ ｏ ｆ Ｒ ｅ ｄ Ｍ ａ ｎ ｓ ｉ ｏ ｎ ｓ ） 和英 国学者霍克 斯翻译 的（ （ Ｔ ｈ ｅ Ｓ ｔ ｏ ｒ ｙ ｏ ｆ ｔ ｈ ｅ Ｓ ｔ ｏ ｎ ｅ ） ， 这两个译本堪称
汉译英翻译的经典之作。但两个译本在翻译具体内 容时 ， 尤其是具有鲜 明文化特征的内容 ， 如宗教、 札
跨文化翻译 中的文化缺省及翻译策略
— —
以杨译 本 《 红楼 梦》 为例
周 婷 婷
（ 烟 台大 学 外 国语 学院 ， 山东 烟 台 ２ ６ ４ ０ ０ ０ ）
摘要 ： 翻译是一种双重交际活动 ， 由于中西文化 的差异和语 言结构 的特殊性 ， 必然会 出现 文化缺 省现 象。译 者应尽量 忠