隐喻翻译中的主体性:以英语抑郁情绪隐喻的俄语翻译为例

O. Vakhovska
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引用次数: 1

摘要

本文探讨了斯蒂伦的《可见的黑暗:疯狂回忆录》中抑郁情绪隐喻的俄语翻译中主体性的理论概念。在他的回忆录中,作者通过隐喻来诠释他的情感并命名它们;这些解读都是由作者脑海中的意象所驱动的。翻译中的意象解释是一种创造性的行为,即在原语中赋予一个词以意义,并在译入语中找到一个词来表达这个意义。这种行为是由译者脑海中“描绘”的形象所驱动的。心理意象作为心灵中的非命题对象,是通过基于命题结构的语言词汇来表达的。这就导致了翻译的语义损失,通过在目标语言中寻找对作者的心理意象进行最佳描述的单词来最小化语义损失。本文提出一种假设,即隐喻翻译是基于译者的心理意象对隐喻的解释。研究的理论框架是从翻译的最优性而非准确性的角度来看待隐喻翻译。本文运用主体性论证来说明心理意象是译者的,而不是作者的。主体性将译者禁锢在自己的经验中,从而使译者和作者的共同现象意识无法完全契合。以梅尼科夫对斯蒂伦的抑郁情绪隐喻的翻译为例,对隐喻创造性的实证分析表明,俄语翻译往往缺乏作者作为英语创造性隐喻基础的形象:一方面,译者的解释受到与作者不同的形象的制约,另一方面,翻译中缺少了作者的一些形象。具身心理理论认为,在隐喻概念的翻译中,传达普遍隐喻的创造性程度最小,传达其语境变体的创造性程度最高。所得结果和结论将有助于理解非常规隐喻翻译中的创造性。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Subjectivity in metaphor translation: a case for Russian translation of English metaphors of depressive emotions
This paper focuses on the theoretical concept of subjectivity in the translation of metaphors of depressive emotions in W. Styron’s Darkness visible: A memoir of madness into Russian. In his memoir, the author interprets his emotions and names them via metaphors; these interpretations are driven by images in the author’s mind. An image-driven interpretation in translation is a creative act of ascribing a meaning to a word in the source language and of finding a word to capture this meaning in the target language. This act is driven by images ‘drawn’ in the translator’s mind. Mental images as non-propositional objects in the mind are verbalized by words of languages based on propositional structures. This entails semantic losses to translation, minimized by finding words in the target language that make optimal descriptions for the author’s mental images. This paper suggests a hypothesis that metaphor translation is based on their interpretations driven by the translator’s mental images. The theoretical framework of study treats metaphor translation in terms of optimality rather than accuracy of translation. The article uses the subjectivity argument to show that mental images are the translator’s but not the author’s. Subjectivity locks the translator into their own experiences and consequently makes impossible a full compliance of translator’s and the author’s shared phenomenal consciousness. An empirical analysis of metaphorical creativity based on E. Menikov's translation of W. Styron's metaphors of depressive emotions shows that Russian translation often lacks the images that the author uses as the basis for English creative metaphors: on the one hand, the translator's interpretation is conditioned by images that differ from the author's, on the other, some of the author's images are missing from the translation. According to the embodied mind theory, in translation of metaphorical concepts, the degree of creativity is the smallest for conveying universal metaphors and the highest for conveying their contextual variants. The obtained results and conclusions will contribute to the understanding of creativity in the translation of unconventional metaphors.
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