付曉朦，王樹槐

?

魯迅小說的隱喻翻譯——《狂人日記》的三個英譯本比較研究

付曉朦，王樹槐

（華中科技大學外國語學院，湖北武漢 430074）

魯迅小說以其豐富的隱喻而聞名，《狂人日記》尤甚。楊憲益夫婦、藍詩玲和萊爾的英譯本最負盛名，譯本風格也有所差別。從隱喻的文體角度入手，從書寫隱喻、詞匯隱喻、句法隱喻、語域隱喻四個方面具體分析小說中的隱喻翻譯。研究發(fā)現(xiàn)，萊爾的隱喻意識最強，通過大量的隱喻來重現(xiàn)源語含義和風格，具有隱喻爆發(fā)傾向；藍詩玲的隱喻意識次之，注重詞匯的選擇與語言的美學規(guī)范，具有隱喻散發(fā)傾向；楊憲益夫婦的隱喻意識最低，但他們注重譯文與原文本的準確對應，具有隱喻休眠傾向。

魯迅；文體隱喻；《狂人日記》；譯本比較

一、引言

《狂人日記》于1918年出版，是中國文學史上第一篇白話短篇小說。雖然當時辛亥革命推翻了清王朝的封建統(tǒng)治，但人們的封建思想仍然根深蒂固。小說以狂人的視角來審視周圍的世界，雖然日記中全是狂人語無倫次的瘋言瘋語，但這些狂語卻道出了事實，引人警醒。故事開始于狂人對周圍人要迫害他的恐懼，結(jié)束于對年輕人的希望，吶喊出“救救孩子”的呼聲。表面上滿篇盡是“吃人”的胡話，但實際上揭示了封建制度“吃人”的本質(zhì)，批判了封建禮教和宗族制度的腐朽?！犊袢巳沼洝芬詥⒚芍髁x思想為新文化運動奠定了基礎。迄今為止，共有18位國內(nèi)外學者將魯迅小說譯為英文并發(fā)表或出版，但在這眾多英譯本中，楊憲益夫婦、藍詩玲和萊爾的譯本最負盛名，影響力也最大（楊堅定、孫鴻仁，2010）。本文將從文體角度入手，詳細分析《狂人日記》三個譯本中的隱喻翻譯。

二、文體隱喻

傳統(tǒng)理論認為，隱喻是修辭層面的語義交換，1980年，萊考夫和約翰遜（Lakoff & Johnson，1980）在《我們賴以生存的隱喻》中提出了概念隱喻理論，認為隱喻是思維層面的概念轉(zhuǎn)換。1985年，韓禮德在《功能語法導論》一書中提出了語法隱喻概念，認為語法隱喻包含話語意義、詞匯語法和音系三個層次，是指語義單位和語法單位的重新組合，并提出了一致式和隱喻式（或不一致式）兩個概念。所謂一致式，就是指母語中最自然的常用表達，其詞匯語法層的表層意義和話語意義層的深層含義相一致。隱喻式則是指語義和語法單位的非自然重組，即通過用名詞表達過程或?qū)傩缘确绞?，使得詞匯語法層的表層意思與話語意義層的深層含義不相符（Halliday，2012）。文體則是指運用各種語言特征、手段、模式而達到藝術(shù)或主題的相關效果（申丹，1995：19）。利奇和肖特（Leech & Short，2003：11-13，137-138）在《小說文體論》一書中指出文體分析要基于韓禮德功能語法理論。他們將韓禮德的層次思想進一步深化，添加書寫層，提出了文體分析的四個層次，即語義層、句法層、書寫層和音系層（ibid.：127-132），同時也提出了文體分析清單，包括詞匯、語法、修辭、語境連貫（ibid.：75-80）。本文中所討論的文體隱喻是指在書寫、詞匯、句法、語域等方面上所發(fā)生的變異，即詞匯語法的表面含義與話語意義深層含義的偏離，從而通過陌生化的藝術(shù)效果達到強調(diào)其隱喻意義，凸顯主題的目的。

三、譯本分析

1 書寫隱喻

書寫隱喻是指書寫形式對自然形式的有意識的偏離，主要包括拼寫、大寫、連字符、斜體等。只有當作者故意或多次使用非常規(guī)的書寫形式時，才構(gòu)成其顯著的文體特征，如故意的拼寫錯誤或大寫等（Leech & Short，2003：131）。例如：

（1）歪歪斜斜的每葉上都寫著“仁義道德”幾個字。我橫豎睡不著，仔細看了半夜，才從字縫里看出字來，滿本都寫著兩個字是“吃人”！

楊譯：I tried to look this up, but my history has no chronology, and scrawled all over each page are the words: “”. Since I could not sleep anyway, I read intently half the night until I began to see words between the lines. The whole book was filled with the two words—“”.

藍譯：When I flick through the history books, I find no dates, only those fine Confucian principles “” snaking their way across each pages. As I studied them again, through one of my more implacably sleepless nights, I finally glimpsed what lay between every line, of every book: “!”

萊譯：There were no dates in this history, but scrawled this way and that across every page were the words. Since I couldn’t get to sleep anyway, I read that history very carefully for most of the night, and finally I began to make out what was written between the lines; the whole volume was filled with a single phrase:!

原文中“仁義道德”和“吃人”都加了引號，魯迅先生想要通過引號給予這兩個詞以高光，突出它們之間的對比關系，諷刺滿篇盡是“仁義道德”的史書實際上是封建制度“吃人”的工具。對比三個譯本，楊憲益使用引號加首字母大寫，藍詩玲只使用了引號，而萊爾采用了全大寫的方式。讀者不難發(fā)現(xiàn)萊爾的譯本中這兩個詞最為醒目，給予了最強的高光突出，也更加能讓讀者意識到這兩個詞之間的隱喻關系。又如：

（2）前幾天，狼子村的佃戶來告荒，對我大哥說，他們村里的一個大惡人，給人家打死了；幾個人便挖出他的心肝來，用油煎了吃，可以壯壯膽子。

楊譯：A few days ago a tenant of ours from Wolf Cub Village came to report the failure of the crops and told my elder brother thatin their village had been beaten to death; then some people had taken out his heart and liver, fried them in oil and eaten them, as a means of increasing their courage.

藍譯：A few days ago, one of our tenants—a farmer from Wolf Cub Village—came to report a famine.in the village had been beaten to death, he told my brother, and some of the villagers had dug out his hear t and liver, then fried and eaten them, for courage.

萊譯：A few days back one of our tenant farmers came in from Wolf Cub Village to report a famine. Told my elder brother the villagers had all ganged up on“and beaten him to death. Even gouged out his heart a liver. Fried them up and ate them to bolster their own courage!

文中的大惡人并非真正的惡人，而是封建禮教和宗族勢力的反抗者。世人都被封建禮教蒙蔽了眼睛，蠱惑了心神，接受不了像狂人和大惡人一樣看清了事實，擺脫了束縛，具有新思想的人。愚昧的世人給這些反叛者安上污名，以求得心理的慰藉。萊爾在譯文中將bad加了引號，意在強調(diào)大惡人并非真正的惡，引發(fā)讀者去思考bad背后的意義。原文雖未加引號予以突出，但屬于高語境的中國人自然能想到這個詞背后的意義，而處于低語境的西方讀者在未加引號的譯文中并不一定能抓住其隱喻意義，這也可能會造成對文中人物理解上的偏差或缺失。

（3）記得什么書上說，有一種東西，叫“海乙那”的

楊譯：I remember reading somewhere of a hideous beast with an ugly look in its eye called “”

藍譯：I remember reading in some book somewhere about a fearfully ugly creature called a

萊譯：I remember reading in a book somewhere about something called the.

The three Chinese characters are used here for phonetic value only—that is, hai-yi-na is a transliteration into Chinese of the English word ‘hyena’.

海乙那是生活在非洲和南亞地區(qū)的一種外形丑陋，非常兇猛的腐食動物。雖然海乙那有對應的英文詞hyena，但狂人連書名都不記得了，還能清楚記得什么書上說的海乙那怎么寫，這似乎不太符合狂人思維混亂、語無倫次的特點。萊爾譯本選擇將其音譯為hai-yi-na，并用連字符連接，正符合狂人記憶模糊、意識混亂的特點。但是使用腳注解釋hai-yi-na會影響讀者閱讀的連貫性。

2 詞匯隱喻

利奇和肖特將詞匯分析列為文體分析清單中的第一大類，韓禮德也將詞匯隱喻中的名詞化視為語法隱喻的重要來源之一，認為在一致式中屬性應由形容詞來實現(xiàn)，但在隱喻式中屬性卻轉(zhuǎn)化為了名詞。在本文中詞匯隱喻是指譯者通過詞匯的選擇賦予其生動的意象，擴展和深化詞匯的表層意義，使其富于張力，從而突出其隱喻意義，凸顯主題。例如：

（4）屋子里全是黑沉沉的

楊譯：It wasin there

藍譯：A stiflingthe room

萊譯：It wasinside

原文“黑沉沉”一詞包含了顏色和重量，既表達了房屋里的漆黑，又表達了狂人內(nèi)心的沉重。楊氏夫婦和萊爾都使用了pitch dark作表語，僅表達出顏色。但pitch dark更為貼切的含義是黑漆漆而不是黑沉沉。藍詩玲將原本應該作為形容詞出現(xiàn)的屬性名詞化，并搭配了hung over這一動詞，巧妙地給darkness增添了重量，不僅表達出了房間的黑暗，更表達出了封建禮教思想對狂人的壓迫，與原文有異曲同工之妙，張力極大。

（5）我便從頭直冷到腳跟

楊譯：Ifrom head to foot

藍譯：I prickled withfear

萊譯：from the top of my head clear down to the tips of my toes

萊爾將本應作為狀態(tài)的冷轉(zhuǎn)化為名詞來表達，將冷這一抽象概念實體化，并用run修飾shiver，通過擬人化的表達給予shiver主觀能動性，使其更具有畫面感和動態(tài)感，從而突出封建思想如同黑夜里刺骨的寒冷無情地殘害著像狂人一樣的熱血青年。

（6）還有書上都寫著，通紅嶄新！

楊譯：and you can see it written all over the books, in.

藍譯：it’s written in all the books, in.

萊譯：And it’s written in all the books, too, written in.

楊憲益夫婦和藍詩玲都將“通紅嶄新”譯為fresh red ink，而萊爾則譯為bright red blood。fresh red ink與原文字面意義相對應，而此處“通紅嶄新”喻指封建統(tǒng)治的血腥歷史。由于西方讀者屬于低語境文化，話語表面意義就是其所要表達的意義，僅譯為ink這一意象，西方讀者可能只能理解為墨跡，無法掌握封建血腥歷史這一隱喻意義。相比之下，萊爾用blood代替ink，映射封建血腥歷史，不僅表達出了字面意義，更譯出了詞語所要表達的隱喻意義。

（7）只有廿年以前，把古久先生的陳年流水簿子，踹了一腳，古久先生很不高興。

楊譯：I can think of nothing except that twenty years ago I trod on’s old ledgers, and Mr. Gu was most displeased.

藍譯：All I could think of was that twenty years ago, I stamped on the Records of, and it has been my enemy since.

萊譯：The only thing I can think of is that twenty years ago I trampled the account books kept by, and he was hopping mad about it too.

“古久先生”喻指古老悠久的封建歷史，“古久”所隱含的意義比其發(fā)音更為重要。楊憲益夫婦僅僅將其音譯為Mr. Gu Jiu，造成了“古久”意義的缺失，讀者并不能在音譯中感受到人物意象的隱喻意義。而將其譯為the Past或Mr. Antiquity雖不能與原文發(fā)音相對應，但卻讓讀者在字面含義中充分領會人物背后的隱含意義。

（8）歪歪斜斜的每葉上都寫著“仁義道德”幾個字。

楊譯：all over each page are the words: “Virtue and Morality”.

藍譯：those fine Confucian principles “benevolence, righteousness, morality”their way across each pages.

萊譯：this way and that across every page were the words BENEVOLENCE, RIGHTEOUSNESS, and MORALITY.

藍詩玲用snaking一詞修飾書上歪歪斜斜寫著的“仁義道德”。在《圣經(jīng)·創(chuàng)世紀》中，亞當和夏娃就是受到了蛇的蠱惑偷吃了伊甸園中的禁果才被上帝懲罰。在西方蛇通常被認為是罪惡的源泉，在中國蛇也同樣是邪惡的象征。在藍詩玲譯本中，蛇的邪惡正喻指封建傳統(tǒng)思想的邪惡。蛇這一具體意象可以給予讀者形象的視覺感受，使讀者充分理解封建傳統(tǒng)思想的丑陋和腐朽本質(zhì)，同時也揭示了封建傳統(tǒng)思想是中華五千年殘酷吃人歷史的根源，更是阻礙新文化、新思想的禍根。

3 句法隱喻

句法隱喻是指通過在語法層面改變句子本身的自然形態(tài)，包括句子長度、句子結(jié)構(gòu)以及復雜性等，來表達話語意義的深層含義。句法隱喻是作者有意識地改變最平實、最常用的句子形式，以突出文體效果，達到隱喻目的。例如：

（9）誰曉得從盤古開天辟地以后，一直吃到易牙的兒子；從易牙的兒子，一直吃到徐錫林；從徐錫林，又一直吃到狼子村捉住的人。

楊譯：But actually since the creation of heaven and earth by Pan Ku men have been eating each other, from the time of Yi Ya’s son to the time of Hsu Hsi-lin, and from the time of Hsu Hsi-lin down to the man caught in Wolf Cub Village.

藍譯：We all know it’s been going on—since the creation of the earth itself. That revolutionary, Xu Xilin, a few years back—didn’t they eat his heart and liver? Then there’s the Wolf Cub Villagers;

萊譯：All the way from the time when Pan Gu separated heaven and earth down to Yi Ya’s son, down to Xu Xilin, and on down to the man they killed in Wolf Cub Village.

原文中用三個“一直到”構(gòu)成排比句，使語氣更加強烈，更表達出吃人歷史一代代漫長的延續(xù)。對比三個譯本，只有萊爾使用了三個down to并列，不僅內(nèi)容準確，語言簡練，更揭示了封建統(tǒng)治腐朽的延續(xù)，在其影響下人性也跟著衰退的真相。在楊憲益夫婦的譯本中也使用了兩個from the time of…to…的并列結(jié)構(gòu)，但句子相對較長。原文中并沒有復雜冗長的句子，短句和簡單句居多，這正符合狂人癲狂的特點，使用長句略顯不符。

（10）記得什么書上說，有一種東西，叫“海乙那”的，眼光和樣子都很難看；時常吃死肉，連極大的骨頭，都細細嚼爛，咽下肚子去，想起來也教人害怕。

楊譯：I remember reading somewhere of a hideous beast with an ugly look in its eye called “hyena” which often eats dead flesh. Even the largest bones it crunches into fragments and swallows; the mere thought of this makes your hair stand on end.

藍譯：I remember reading in some book somewhere about a fearfully ugly creature called a hyena, with terrifying eyes and a fondness for dead meat, capable of chewing the most enormous bones down to a pulp. I shiver just to think of it.

萊譯：I remember reading in a book somewhere about something called the hai-yi-na. Its general appearance is said to be hideous, and the expression in its eyes particularly ugly and malicious. Often eats carrion, too. Even chews the bones to a pulp and swallows them down. Just thinking about it’s enough to frighten a man.

三個譯文都表達出了海乙那兇狠的特性，從而隱喻出吃人的人的兇狠。在翻譯“眼光和樣子都很難看；時常吃死肉，連極大的骨頭，都細細嚼爛，咽下肚子去”時，楊氏夫婦用了兩個完整句，藍詩玲用了一個完整句，萊爾用了三個完整句。其中楊譯中ugly look作狀語，hideous作定語，eat dead flesh作從句。藍譯中“難看的樣子”作定語，“眼光”、“吃死肉”、“嚼骨頭”都作狀語。從屬成分往往傳遞從屬信息，若A從屬于B，則A為背景，B為主要信息（Leech & Short，2003：221）。而萊譯中“難看的樣子”、“吃死肉”、“嚼骨頭”都用獨立的主謂結(jié)構(gòu)表達，這就使得每一個形容都是重點，語氣更加強烈，更能表現(xiàn)出海乙那的兇狠。利奇和肖特（ibid.：217）在《小說文體論》中指出，句號具有最大的分割功能，標點符號的密度和種類也會影響讀者閱讀的節(jié)奏。不難發(fā)現(xiàn)萊爾的譯文短句、簡單句居多，這樣不僅給每個信息以高光突出，更能加快讀者的閱讀速度，從心理上讓讀者感受到海乙那的兇狠，同時也更符合狂人的語言習慣和思維邏輯。

（11）我看出他話中全是毒，笑中全是刀。他們的牙齒，全是白厲厲的排著，這就是吃人的家伙。

楊譯：I realize all the poison in their speech, all the daggers in their laughter. Their teeth are white and glistening: they use these teeth to eat men.

藍譯：I now see that their speech is poisoned, their laughter knife-edged, their teeth fearfully white—teeth that eat people.

萊譯：Those worlds were poison! That laughter, a knife! Their teeth are bared and waiting—white and razor sharp! Those people are cannibals!

楊憲益夫婦譯為兩個完整句，藍詩玲譯為一個完整句，而萊爾則譯為結(jié)構(gòu)簡單的四句話。萊譯的第二句甚至沒有動詞，不構(gòu)成一個完整的句子。這種簡單且不完整的句子正符合狂人的精神疾病。標點符號也具有重要的文體作用（ibid.：216），萊譯中的四句話全部用感嘆號結(jié)尾，將狂人內(nèi)心的吶喊表現(xiàn)得淋漓盡致。較之其他兩個譯本，萊爾譯本更多地使用了感嘆號，將狂人的情感加入其中，凸顯吃人的人的兇狠和狂人的勇敢無畏。

（12）他們可是父子兄弟夫婦朋友師生仇敵和各不相識的人，都結(jié)成一伙，相互勸勉，相互牽制，死也不肯跨過這一步。

楊譯：Yet fathers and sons, husbands and wives, brothers, friends, teachers and students, sworn enemies and even strangers, have all joined in this conspiracy, discouraging and preventing each other from taking this step.

藍譯：But they are all part of it—fathers, sons, brothers, husbands, wives, friends, teachers, pupils, enemies, perfect strangers, pulling each other back.

萊譯：But what do they do instead? What is it that these fathers, sons, brothers, husbands, wives, friends, teachers, students, enemies, and even people who don’t know each other really do? Why they all join together to hold each other back, and talk each other out of it! That’s it! They’d rather die than take that one little step.

楊憲益夫婦和藍詩玲都譯為一個完整句，而萊爾則譯為五個完整句，還改變了原來的句式，使用自問自答的形式?；加芯窦膊〉娜送鶗詥栕源?，這種句式很符合狂人的語言特點。而楊譯和藍譯使用帶有伴隨狀語的長句，更像是一個思維嚴謹?shù)娜说脑捳Z。自問自答的形式更能給答案以高光突出，從而諷刺人們不想改變封建思想的愚昧。

4 語域隱喻

語域是指語言根據(jù)其使用環(huán)境的不同而發(fā)生的變化，如正式與非正式語言、口語與書面語言、科技、宗教、法律語言等（Leech & Short，2003：80）。語域隱喻是指作者有意識地根據(jù)語言使用環(huán)境使得語言正式程度、使用范疇發(fā)生變異，從而給讀者塑造一個多維視角。例如：

（13）某君昆仲，今隱其名，皆余昔日在中學校良友，分隔多年消息漸缺……記中語誤，一字不易，惟人名雖皆村人，不為世間所知，無關大體，然亦悉易去。至于書名，則本人愈后所題，不復改也。七年四月二日識。

今天晚上，很好的月光。我不見他，已是三十多年；今天見了，精神分外爽快。

楊譯：Two brothers, whose names I need not mention here, were both good friends of mine in high school; but after a separation of many years, we gradually lost touch…I have not altered a single illogicality in the diary and have changed only the names, even though the people referred to are all country folk, unknown the world and of no consequence. As for the title, it was chosen by the diarist himself after his recovery, and I did not change it.

Tonight the moon is very bright. I have not seen it for over thirty years, so today when I saw it I felt in unusually high spirits.

藍譯：At school I had been close friends with two brothers whose names I will omit to mention here. As the years went by after we graduated, however, we gradually lost touch…While I have not altered a single one of the author’s errors, I have changed all the local names used in the original, despite the personal obscurity of the individuals involved. Finally, I have made use of the title chosen by the invalid himself following his full recovery.（2 April 1918）

The moon is bright tonight. I had not seen it for thirty years; the sight of it today was extraordinarily refreshing.

萊譯：There was once a pair of male siblings whose actual names I beg your indulgence to withhold. Suffice it to say that we three were boon companions during our school years. Subsequently, circumstances contrived to rend us asunder so that we were gradually bereft of knowledge regarding each other’s activities…As to the lapsus calami that occur in the course of the diaries, I have altered not a word. Nonetheless, I have changed all the names, despite the fact that their publication would be of no great consequence since they are all humble villagers unknown to the world at large. Recorded this 2nd day in the 7th year of the Republic.

Moonlight s really nice tonight. Haven’t seen it in thirty years. Seeing it today, I feel like a new man.

魯迅先生在序言中以一個正常人的視角，使用文言文來敘述日記的由來，而在日記正文中則使用白話文，以匹配狂人的精神疾病?？苤久鳎?013）曾評論過藍詩玲譯本，稱在三個譯本中只有萊爾譯本試圖使用晦澀難懂的古英語來重現(xiàn)序言中的文言文風格，而在日記正文中又使用現(xiàn)代日常英語來表達。萊爾的序言譯文相較于其他兩個譯本確實更加晦澀難懂。例如，“某君昆仲”在楊譯和藍譯中都為two brothers，而萊爾則譯為siblings，是“兄弟”的正式形式。beg your indulgence更是excuse me的極正式表達。經(jīng)牛津字典查證，contrive，rend，asunder，bereft，lapsus calami等也都是正式、過時或生僻的詞匯。萊爾在序言中都使用語法結(jié)構(gòu)復雜、邏輯嚴謹?shù)拈L句，而在正文中則多使用結(jié)構(gòu)簡單的短句，還時而使用語法結(jié)構(gòu)不完整的短句。因此，在萊爾譯本中讀者可以明顯感覺到序言由一位思維嚴謹?shù)恼Ｈ藭鴮懀沼泟t由思維混亂的狂人書寫。這更凸顯了狂人與其他人的格格不入，與主題隱喻——狂人是這個腐朽封建社會中具有新思想、新文化的真正的人相呼應。

四、結(jié)語

利奇和肖特（Leech & Short，2003：70）曾說過數(shù)量分析是文體分析中不可或缺的重要手段。經(jīng)過一系列的舉例論證和定性分析，本文也定量分析了三位譯者的文體特點。

文體隱喻總數(shù) 書寫隱喻詞匯隱喻句法隱喻語域隱喻 楊譯00000 藍譯03003 萊譯334111

通過圖表可以看出，萊爾譯本中的隱喻最多，有意地介入隱喻來呼應主題，使內(nèi)容更加連貫。廖美珍和周曉萍（2010）曾指出，隱喻變化程度和語篇組織程度呈線性關系，“隱喻語篇變化頻率越低，隱喻變化跨度越小，則概念之間的差距越小，意象之間的沖突越小，因而語篇組織程度越高”。萊爾在譯本中有意識地使用一系列趨于主題的隱喻來凸顯主題，使得譯文更加連貫，更能讓讀者抓住小說背后所要表達的主題意義。

總體來說，《狂人日記》以其隱喻風格而著名，魯迅先生將敏感晦澀的思想用具體的物、事、人來表達，讓讀者在具體意象中體會抽象概念，引發(fā)讀者深思。根據(jù)以上分析，本文根據(jù)隱喻意識的強弱對三個譯本進行了歸納，萊爾隱喻意識最強，藍詩玲次之，楊憲益夫婦隱喻意識最弱。楊憲益夫婦更注重翻譯的準確性，譯文中除了原文中已有的必要隱喻外，幾乎沒有其他隱喻，具有隱喻休眠傾向。藍詩玲隱喻意識居中，更注重詞匯的選擇和美學效果，具有隱喻散發(fā)傾向。萊爾隱喻意識最強，從段落、句子、詞匯甚至到標點符號都處處體現(xiàn)隱喻的存在，具有隱喻爆發(fā)傾向。萊爾譯本也最能重現(xiàn)《狂人日記》的寫作風格和隱喻特點。

參考文獻：

[1] Halliday, M. A. K. & C. M. I. M. Matthiessen. 2012.[M]. Beijing: Foreign Language Teaching and Research Press.

[2] Lakoff, G. & M. Johnson. 1980.[M]. Chicago: The University of Chicago Press.

[3] Leech, G. & M. Short. 2003.[M]. Beijing: Foreign Language Teaching and Research Press.

[4] Lovell, J. 2009.[M]. London: Penguin.

[5] Lyell, W. 1990.[M]. Hunolulu: University of Hawaii Press.

[6] Yang Hsien-yi & Gladys Yang. 2010.[M]. Beijing: Foreign Languages Press.

[7] 寇志明, 羅海智. 2013.“因為魯迅的書還是好賣”：關于魯迅小說的英文翻譯[J].魯迅研究月刊, (2): 38-50.

[8] 廖美珍, 周曉萍. 2010. 我們賴以建構(gòu)和組織語篇的隱喻——隱喻變化與語篇組織程度[J].外國語文, (2): 51-56.

[9] 申丹. 1995. 文學文體學與小說翻譯[M].北京:北京大學出版社.

[10] 楊堅定, 孫鴻仁. 2010. 魯迅小說英譯版本綜述[J].魯迅研究月刊, (4): 49-52.

（責任編輯：于 濤）

H315.9

A

1008-665X（2016）3-0045-05

2015-12-17；

2016-04-07

付曉朦，女，碩士研究生，研究方向：翻譯學 王樹槐，男，教授，博士，研究方向：翻譯學