《呐喊》的叙事视角类型及其话语表达模式的翻译

The Types of Narrative Perspective in Call to Arms and the Translation of the Speech Presentation Modes

《呐喊》小说集是鲁迅问鼎文坛的一部力作,也是中国现代小说创立的基石和成熟的标志。以往对鲁迅作品的研究偏重于对其思想性、革命性和社会性的分析,对其艺术形式的探讨、特别是对其小说中多种叙事视角的应用及转换的研究重视不够。从叙事学的角度切入,主要分析鲁迅小说集《呐喊》中叙事视角的三种类型及其转换,以展现其对中国现代小说叙事的深远影响。简要分析不同叙事视角的选择对小说话语表达模式的影响,并通过对比分析汉英两种语言在话语表达模式上的异同,结合《呐喊》原文本与杨宪益和戴乃迭合译的《呐喊》译本,探索各种言语表达模式的翻译策略,以期对小说叙事中不同表达模式的翻译有所启示。

The collection of short stories Call to Arms, as Lu Xun＇s first masterpiece, is regarded as the cornerstone and the mark of the maturity of modern Chinese fiction. The studies on Lu Xun＇s works in the past put much emphasis on the ideological and social values ; however, the analysis of artistic forms, especially the study of narrative perspectives and their shifts has not been given enough attention. Therefore, from the viewpoint of narratology, this article mainly analyzes three types of narrative perspective and their shifts to show the profound influence Lu Xun has exerted on modem Chinese fiction. In addition, based on the excerpts from both the source text and the corresponding translated version of Call to Arms by Yang Xianyi and Gladys Yang, the authors make a comparison of the speech presentation modes between Chinese and English and briefly analyze the influence of narrative perspective on the speech presentation modes. Based on these researches, the authors finally explore effective ways to translate different modes of speech presentation.