身体隐喻在巴金《春》维译本中的转换研究

A Study on the Transformation of Body Metaphors in the Uyghur Translation of Ba Jin’s “Spring”

摘要: 本研究以概念隐喻理论(Conceptual Metaphor Theory, CMT)为框架，选取巴金代表作《春》及其维吾尔语译本为研究对象，聚焦于“心”、“眼”、“脚”、“脸”这四个典型身体部位的隐喻表达。文章通过文本细读与对比分析，探讨了这些身体隐喻在维译本中的转换路径(如直译、意译、替换)、翻译策略以及背后的文化映射机制。研究发现，虽然汉维语言在情感表达与具象化呈现上存在共性，但受制于文化意象、语言结构及使用习惯的差异，译者在处理部分隐喻时采取了意象替换或结构重构的策略(如将“煎熬”译为“火焰中”，将“畸形脚”的伦理批判弱化为视觉描述)，以实现语义通达与文化适应(Cultural Adaptation)。结论指出，译者在形式对应与语义通达之间寻求平衡，通过多种手段实现了源语认知韵味与译语表达习惯的融合。该研究将认知语言学中的概念隐喻理论应用于汉维文学翻译批评，不仅丰富了巴金作品的跨语言研究视角，也为少数民族语言翻译研究提供了具体的案例分析，有助于揭示不同民族在身体认知与情感隐喻构建上的异同。

Abstract: Drawing on Conceptual Metaphor Theory (CMT), this study zeroes in on the metaphorical uses of four body parts—“heart”, “eye”, “foot” and “face”—in Ba Jin’s novel “Spring” and its Uyghur translation. Through close textual reading and contrastive analysis, it tracks the metaphors’ translation trajectories (literal rendering, sense-for-sense translation, image substitution) and the cultural mapping mechanisms that underlie them. While Chinese and Uyghur converge in embodied emotion construal, divergences in cultural imagery, linguistic structure and usage force translators to recalibrate images or restructure mappings: e.g., “agonizing torment” becomes “in flames” and the ethical censure carried by “deformed foot” is toned down into a purely visual description, ensuring semantic accessibility and cultural adaptation. Translators are thus shown to negotiate a balance between formal correspondence and cognitive fluency, fusing the source-text metaphorical overtones with target-text expressive habits. By applying CMT to Chinese-Uyghur literary translation, the paper not only broadens the interlingual study of Ba Jin’s oeuvre but also offers a concrete case for minority-language translation research, shedding light on cross-ethnic variations in bodily cognition and emotional metaphor construction.