目的论视角下文化负载词翻译策略研究——以《乌鸦》曹明伦译本为例

A Study on the Translation Strategies of Culture-Loaded Words from the Perspective of Skopos Theory—Taking Cao Minglun’s Translation of The Raven as an Example

摘要: 埃德加·爱伦·坡的著名诗歌《乌鸦》是一首经典的哥特风格诗歌，富于阴郁浪漫之美，其中包含大量与西方宗教、神话相关的文化负载词。如何克服语言文化的差异性，翻译出诗歌的意象之美，是对翻译者的一大考验。本篇论文基于汉斯·弗米尔的翻译目的论及其三大原则，从文化负载词的翻译策略、翻译方法和翻译技巧入手，分析曹明伦译本是否忠实于原诗、达到语义上的流畅、实现翻译行为的目的。研究发现曹译本一方面采用了远离读者的方式来营造西方神话和宗教中渗透出的哥特恐怖气氛，另一方面又采用了独具中国特色的译法拉近与读者的距离，这无法避免由于语言文化差异所导致的诗歌意境流失。可见文化负载词的翻译极具挑战性，译文在这个方面仍有改进的空间。

Abstract: Edgar Allan Poe’s renowned poem The Raven is a classic Gothic-style work imbued with dark romantic beauty, containing many culture-loaded words related to Western religion and mythology. How to overcome linguistic and cultural disparities and accurately convey the poetic imagery poses a significant challenge for the translator. Based on Hans Vermeer’s Skopos Theory and its three principles, this paper analyzes Cao Minglun’s translation strategies, methods, and techniques for culture-loaded words to evaluate whether his rendition remains faithful to the original poem and achieves semantic fluency. The study finds that Cao’s translation adopts a reader-distancing approach to recreate the Gothic horror atmosphere permeated by Western mythology and religion, while simultaneously adopting a Sinicized strategy to bridge the gap with target readers which inevitably leads to some loss of artistic conception due to linguistic and cultural differences. The research demonstrates that translating culture-loaded words is highly challenging, and there remains room for improvement in this aspect of the translation.