功能性译者风格视域下《骆驼祥子》英译本祥子形象重塑研究——金译本与施译本的对比分析

A Study on the Reconstruction of Xiangzi’s Image in English Translations of Camel Xiangzi from the Perspective of Functional Translator Style—A Comparative Analysis of Evan King’s and Shi Xiaojing’s Versions

摘要: 本研究以功能性译者风格理论和副文本理论为框架，对老舍《骆驼祥子》的两个英译本——伊万·金(Evan King) 1945年译本(金译本)和施晓菁1981/2004年译本(施译本)进行对比研究，旨在探讨两位译者在重塑主人公祥子形象时所展现的功能性风格差异。研究从副文本策略(书名、封面、序言)、人名译法、词汇链与语义场四个维度展开。研究发现，在副文本层面，金译本通过意象置换和迎合西方读者视觉期待的封面包装，构建了一个符合西方读者阅读期待的叙事框架；而施译本则通过忠实的副文本元素引导读者认识原著深刻揭示社会现实的叙事本质。在文本层面，通过语料库分析，研究指出金译本的语义场整体偏离值(0.441)显著高于施译本(0.360)，其风格差异主要体现在系统性地削弱了“受压受困”语义场，并放大了“精神沦落”语义场，最终塑造出一个与原著批判意图存在方向性偏移的、更侧重个体悲剧的祥子形象。

Abstract: Framed by the theory of functional translator style and Genette’s (1997) paratext theory, this study conducts a comparative analysis of two English translations of Lao She’s Camel Xiangzi—Evan King’s 1945 version and Shi Xiaojing’s 1981/2004 version—to examine the differences in functional style the two translators display in reconstructing the image of the protagonist Xiangzi. The analysis proceeds along four dimensions: paratextual strategies (title, cover, and preface), personal name translation, lexical chains, and semantic fields. The findings show that at the paratextual level, King’s version, through imagery transformation and packaging that caters to Western readers’ visual expectations, constructs a narrative framework aligned with Western readers’ reading habits, whereas Shi’s version, through faithful paratextual elements, guides readers to perceive the original work’s essence of profoundly revealing social reality. At the textual level, corpus-based semantic-field analysis indicates that the overall deviation value of King’s version (0.441) is notably higher than that of Shi’s version (0.360), with the stylistic difference mainly manifested in the systematic weakening of the “being trapped and oppressed” semantic field and the amplification of the “spiritual degeneration” semantic field, ultimately shaping an image of Xiangzi that deviates directionally from the original’s critical intent and places greater emphasis on individual tragedy.