王瑾 姜華

【摘要】本文以生態(tài)翻譯論為理論基礎(chǔ)，以賈平凹代表作品《土門》為例探討譯者在翻譯時如何實現(xiàn)“語言維”“文化維”“交際維”的轉(zhuǎn)換。生態(tài)翻譯學是翻譯學中的一個全新視角。希望通過本文的賞析，更多優(yōu)秀的文學作品在以生態(tài)翻譯學理論指導下更好地走出國門。

【關(guān)鍵詞】語言維;文化維;交際維;適應;選擇

【Abstract】This thesis is based on the theory of Eco-translatology， appreciating one of the representative works of Jia Pingwa -- The Earthen Gate and discovering how translators achieve the transformation of the linguistic dimension， cultural dimension and communicative dimension. Eco-translatology is a new viewpoint of the translatology. It is hoped that through the appreciation and analysis of the English version of The Eathern Gate， much more excellent literary works would go abroad widely under the guidance of Eco-translatology theory.

【Key words】linguistic dimension; Cultural dimension; Communicative dimension; Adaption; Selection

【作者簡介】王瑾（1996-），西北大學現(xiàn)代學院，英語專業(yè)，研究方向：翻譯;姜華（1978- ），碩士，西北大學現(xiàn)代學院 講師，研究方向：翻譯、跨文化交際。

I. Introduction

In 2001 professor Hu Gengshen put forward Eco-translatology， a study from an ecological view. It is a discourse system of translation and an ecological model. The Earthen Gate from Jia Pingwa is a spark of the confrontation between industrialization and agriculturalization， presenting a vivid picture of relationship of human beings and nature. This essay intends to appreciate the English version of The Earthen Gate from three dimensions of Eco-translatology.

II. The Application of Eco-translatology in The Earthen Gate

2.1 Strategies and Methods From Linguistic Dimension

眼前依舊又恢復了七月天里裊裊不絕的熱線，水天一色。是的，水天一色，但遠處并不是孤帆遠影，廣場外一幢幢水泥鋼筋砌起來的樓房，都在熱線里開始變形，彎彎扭扭，如醉了酒的漢子。

Translation：The endless hot lines of July steam once again appeared before my eyes and water and sky mingled into one colour. Yep，water and sky were the same colour. But far away there were not only single cells and distant shadows. Outside the square， the buildings composed of steel and concrete metamorphosised in the midst of these hot lines of steam. They contorted and twisted like drunkards.

“裊裊” means curling up and melodious. “不絕” means again and again. The translator uses a word “endless”， totally in accordance with the foreigners custom—brief. “水天一色” and “孤帆遠影” are literal translation because every character has its relative words in English.

2.2 Strategies and Methods From Cultural Dimension

“女要俏，一身孝?！彼自捳f，丑能避邪，太美的東西容易招來禍災。

Translation： Full mourning attire makes a woman beautiful. There is a proverb to the effect that ugliness can word off evil spirits and things are too beautiful easily breed disaster.

“女要俏，一身孝” means if a woman wants to turn beautiful， she wears white dress. “孝” is mourning clothes of white sheets， used in the funeral to mourn people passed away. The translator uses literal translation， while it could lead to ambiguous meaning if there isnt a foot note.

2.3 Strategies and Methods From Communicative Dimension

遂初服，四十五。發(fā)見白，齒漸齲。興還高，人不腐。舌如風，笑一肚。要讀書，恨愚魯。半通今，半博古。

Translation：

Reaching forty-five， being naturally alive，

Hair turning white， teeth becoming slight，

Still high-spirited， never dull-witted，

Wind-like tongue， bellyful of song.

Read more books， hate foolish looks，

Have knowledge amassed， present and past.

The original context is difficult to understand. so the translator uses free translation to convey the connotation. A poem structure is easier and more comfortable to understand.

III. Conclusion

This thesis appreciates the English version of The Earthen Gate from three dimensions— linguistic， cultural and communicative dimension. When a kind of culture is spread overseas， the translation plays an essential role. Literal translation and free translation will be used in different situations. Sometimes the translator needs to add some notes to the translation.

References：

[1]Pinkham，J，The Translators Guide To Chinglish[M]，1998，12.

[2]胡庚申.生態(tài)翻譯學解讀[J].中國翻譯，2008（06）.