基于语料库的《献给艾米丽的玫瑰》译者风格对比研究

A Comparative Study of Translator’s Style in A Rose for Emily Based on Corpus

摘要: 翻译理论的演进推动了译者主体性研究成为焦点，译者风格分析逐渐成为跨文化传播的核心议题。语料库翻译学的兴起则为译者风格研究提供了客观量化方法，有效弥补了传统印象式批评的主观局限。本研究以福克纳短篇小说《献给艾米丽的玫瑰》为对象，选取叶紫与杨岂深两个中文译本，通过自建双语平行语料库，结合定量与定性分析，从词汇选择、句式结构、修辞策略三个维度展开对比，并借助AntConc、WordSmith等工具量化译本的语言特征。研究发现，在词汇层面，叶紫译本类符/形符比与词汇密度均高于杨岂深译本，凸显了词汇丰富性与表达多样性；杨岂深译本虚词与代词使用频率更高，语言更趋平实简洁。句法层面，叶译本平均句长远超杨译本，且形合度较低，这表明叶译本倾向汉语意合式长句，杨译本则贴近英语形合结构。策略倾向上，叶译本通过华丽修辞与复杂句式偏向归化策略，适配汉语审美；杨译本则以简洁词汇、高形合度体现异化策略，力求保留原文形式特征。二者风格均受原文主题与深层结构制约，印证了译者风格是主体性与文本约束的动态平衡。本研究为福克纳作品的汉译接受研究提供了新视角，并运用语料库方法构建了译者风格的客观分析框架，有助于推动文学翻译研究由经验性向实证性转变，期望能对中国文学外译的实践提供一些参考。

Abstract: The evolution of translation theory has propelled translator subjectivity to the forefront of research, establishing translator style analysis as a pivotal concern in cross-cultural communication. The emergence of corpus-based translation studies has furnished objective, quantitative methodologies for researching translator style, effectively compensating for the subjective limitations inherent in traditional impressionistic criticism. This study takes William Faulkner’s short story A Rose for Emily as its subject, selecting two Chinese translations by Ye Zi and Yang Qishen for comparative analysis. Utilizing a self-built bilingual parallel corpus and employing quantitative analysis and qualitative analysis, the study examines the translators’ styles across three dimensions: lexical choices, syntactic structures, and rhetorical strategies. Software tools including AntConc and WordSmith were employed to quantify linguistic features. The findings reveal that at the lexical level, Ye Zi’s translation exhibits a higher type-token ratio and lexical density than Yang Qishen’s version, signifying greater lexical richness and expressive variation. Yang Qishen’s version displays a higher frequency of function words and pronouns, suggesting a simpler and more concise style. Syntactically, the mean sentence length in Ye’s translation significantly exceeded that in Yang’s, coupled with lower syntactic explicitness, indicating Ye’s preference for long paratactic sentences characteristic of Chinese, whereas Yang’s version adheres more closely to the hypotactic structures of English. In terms of strategic orientation, Ye Zi’s translation, characterized by elaborate rhetoric and complex syntax, leans towards domestication to align with Chinese aesthetic preferences. Conversely, Yang Qishen’s translation, employing simpler vocabulary and higher syntactic explicitness, demonstrates a foreignizing strategy aiming to preserve formal features of the source text. The styles of both translators, however, are shown to be constrained by the story’s themes and deep structure, affirming that translator style represents a dynamic equilibrium between agency and textual constraints. This study offers a novel perspective on the reception of Faulknercs works in Chinese translation. By applying corpus methods, it constructs an objective analytical framework for examining translator style, thereby facilitating a shift in literary translation studies from experiential approaches towards more empirical methodologies. It is hoped that the findings may offer valuable insights for the practice of Chinese literary translation into foreign languages.