从符号美学看语义冗余和等效原则的悖论

本文对信息论中的语义冗余概念提出质疑,认为:平衡语言顺序和事件的非语言顺序的翻译法不具有普适性;"音译加类词"不构成严格意义上的翻译;尤其重要的是,文学翻译中隐含信息的显化,会封闭译文意义的潜势系统,造成审美构成和信息的减损,使译文读者不能产生类似于原文读者的审美感受,由此导致译文与原文之间的不等效。由于奈达对"等效"界定不清,出现语义冗余与等效原则在具体操作层面上相违背的情况。研究表明:奈达的错误在于注重符号的交际功能忽视符号的美学功能,强化解码的结果淡化编码的过程,显化语言的理解漠视语言机制本身。基于此,本文在符号美学的基础上对信息论作出补充,提出等效是分层级的,随文本类型的变化而变化,不同的文本类型实现不同的效果,语义冗余度的高低也不同。

This paper questions the conception of semantic redundancy in the Information Theory and holds that the means of making what is implicit explicit will constrain the potential system of language at the cost of aesthetic construct, thus resulting in a paradox between semantic redundancy and dynamic equivalence. To some extent, the contradiction derives from the fuzzy definition of ＂dynamic equivalence＂ by Eugene A. Nida, which is over-generalized, focusing simply on communicative function and disregarding aesthetic effect. Therefore this paper aims at making up for the Information Theory from the perspective of sign aesthetics. It points out that equivalence is hierarchical, which varies in different types of texts. The more communication load a text has, the more aesthetic value it embodies, the less semantic redundancy should be added.