莫言《蛙》中四字格的俄译转换机制研究

A Study on the Mechanisms of Translating Four-Character Expressions into Russian in Mo Yan’s Frog

摘要: 汉语四字格具有结构凝练、节奏整齐和语义容量大的特点，是莫言《蛙》叙事语言和人物话语的重要组成部分。由于汉语与俄语在词汇构成、句法组织和修辞节奏方面存在明显差异，四字格进入俄语后往往难以保持原有形式。本文以功能主义翻译理论和描写翻译研究为理论框架，并引入译者研究视角，以莫言《蛙》及伊戈尔·叶戈罗夫俄译本《Лягушки》为研究语料，在通读两部作品并结合文本检索、逐页复核的基础上，选取固定成语、习用四字短语、叠词式四字格及具有同类修辞功能的临时四字组合为代表性语料，采用文本对比、语境分析和归纳分类相结合的方法，考察其俄译转换。在与增译、减译、词性转换、拆译合译、补偿等既有翻译技巧术语展开对话的基础上，本文将《蛙》中四字格俄译概括为五种主要转换机制。总体来看，译者优先传递四字格的核心语义和语篇功能，并根据具体语境调整其句法形式、文化意象和修辞效果。研究表明，《蛙》中四字格的俄译并非四字形式的机械对应，而是其语义、句法、文化意象和修辞功能在俄语中的重新配置。这一重新配置既受目的语文学规范制约，也体现译者的主体选择，是“文本–译者–文化”互动的结果。

Abstract: Chinese four-character expressions are characterized by structural conciseness, rhythmic regularity, and high semantic density, and constitute an important component of the narrative language and character discourse in Mo Yan’s Frog. Due to significant differences between Chinese and Russian in lexical composition, syntactic organization, and rhetorical rhythm, these expressions often cannot retain their original forms once rendered into Russian. Taking functionalist translation theory and descriptive translation studies as its theoretical framework, and introducing a translator studies perspective, this paper uses Mo Yan’s Frog and Igor Egorov’s Russian translation Лягушки as the research corpus. On the basis of a close reading of both works, combined with text retrieval and page-by-page verification, it selects fixed idioms, conventional four-character phrases, reduplicative four-character expressions, and temporary four-character combinations with similar rhetorical functions as representative data. Adopting a method that combines textual comparison, contextual analysis, and inductive classification, it examines their Russian translation transformations. In dialogue with existing translation technique terms such as amplification, omission, conversion of parts of speech, division and combination, and compensation, this paper summarizes the Russian translation of four-character expressions in Frog into five major transformation mechanisms. Overall, the translator prioritizes conveying the core semantics and discourse functions of the four-character expressions, and adjusts their syntactic forms, cultural imagery, and rhetorical effects according to the specific context. The study shows that the Russian translation of four-character expressions in Frog is not a mechanical correspondence of four-character forms, but a reconfiguration of their semantics, syntax, cultural imagery, and rhetorical functions in Russian. This reconfiguration is constrained by the literary norms of the target language and also reflects the translator’s subjective choices; it is the result of the interaction among “text, translator, and culture”.