翻译素模式和宏观与微观层面上的转换——张爱玲《金锁记》英译为例

通过比较张爱玲的著名小说《金锁记》与其英译文，源语篇和目的语篇微观和宏观层面上的语篇关系显示，可修正Leuven—Zwart的翻译素模式，以识别微观和宏观结构中的主要翻译转换。一般说来，张爱玲对自己作品的翻译是基于读者导向的原则。微观层面的转换包括显性化的转换、表现力削弱和句子结构复杂程度的增加，就宏观层面的转换过程而言，小说世界在译文中被呈现得更详尽，目的语篇的心理风格整体上更具体，而主观程度要低一些，译文中的叙述者是外在的叙述者，比源语篇中的叙述者卷入程度要低，所知要少一些。翻译小说中，叙述者、读者和小说世界文化距离也很大，在句序方面，从时序切分向呈现切分转换，译文提供的信息更多，句型更复杂，在语篇结构方面不如原文那么衔接。

A Transeme Model Perspective on Macro Level and Micro Level Shifts: A Case Study of Eileen Chang's Translation of The Golden Cangue

A detailed comparative study of Eileen Chang＇s renowned novella the Golden Cangue and its English translation as well as the textual relationship between the source text （ST） and the target text （TT） in both the micro level and macro level shows that Leuven-Zwart＇s transeme model can be revised to identify major translation shifts in both the micro and macro structures. Generally speaking, Eileen Chang＇s translation of her own work is based on a reader-oriented principle. Micro-level shifts include shifts of explicitation, the decrease of expressiveness, and the increase of the sentence structure complexity. In terms of macro-level shifts, the fictional world is presented in the translation with greater detail, and the mind style of the TT on the whole is more concrete and less subjective; the narrator in the translation is an external narrator, less involved and less knowledgeable than the one in the ST. Also, there is a considerable cultural distance between the narrator, reader and fictional world in the translated fiction. In syntactic order, there are shifts from chronological segmentation to presentational segmentation, and the translation, with more information provided and more complex sentence patterns, is found less cohesive than the original text in textual structure.