杨宪益翻译理论

《红楼梦英文版（杨宪益译）——精品》《红楼梦》作为我国古典文学四大名著之一，其魅力无穷，影响深远。

杨宪益先生将其译为英文，使得这部经典之作得以跨越国界，让世界各地的读者都能领略其风采。

今天，我们就来品味这部英文版的《红楼梦》，感受杨宪益先生如何将这部精品之作呈现给世界。

一、忠实原著，传达精髓杨宪益先生在翻译《红楼梦》时，始终坚持忠实原著的原则。

他深入研究原著，力求在英文版中传达出作品的精髓。

在人物塑造、情节安排、场景描绘等方面，杨宪益先生都力求做到与原著相符，让读者在阅读英文版时，能够感受到原著的魅力。

二、语言优美，韵味悠长在翻译过程中，杨宪益先生注重语言的优美和韵味。

他运用丰富的词汇、灵活的句式，将原著中的诗词、对话、描写等元素巧妙地转化为英文，使得英文版《红楼梦》既保留了原著的韵味，又具有英文的美感。

三、文化交融，展现东方魅力《红楼梦》蕴含了丰富的中国传统文化，杨宪益先生在翻译过程中，充分考虑了中西文化的差异。

他巧妙地将中国文化元素融入英文表达，使得英文版《红楼梦》成为一部展现东方魅力的佳作。

例如，在处理人物称呼、节日习俗等方面，杨宪益先生都力求做到既符合英文表达习惯，又能展现中国文化特色。

四、深入浅出，易懂易读为了让更多外国读者能够读懂《红楼梦》，杨宪益先生在翻译时注重深入浅出，力求让英文版《红楼梦》易懂易读。

他在注释、附录等方面下了一番功夫，为读者提供了丰富的背景知识，使得英文版《红楼梦》成为一部既具有学术价值，又适合大众阅读的精品之作。

杨宪益先生翻译的英文版《红楼梦》是一部值得细细品味的佳作。

它不仅让外国读者领略到了这部中国古典名著的魅力，也为中外文化交流搭建了一座桥梁。

让我们共同品味这部精品，感受杨宪益先生为传播中华文化所做的贡献。

五、细腻的情感描绘，触动人心在《红楼梦英文版（杨宪益译）》中，杨宪益先生对人物情感的描绘尤为细腻。

他精准地捕捉到了原著中角色的喜怒哀乐，将这些复杂的情感以流畅的英文表达出来，让读者能够感同身受。

从语义翻译和交际翻译角度评析杨宪益的关于《红楼梦》两版译文英国翻译理论家Peter Newmark在他的专著《翻译问题探讨》中提出“语义翻译”( Semantic Translation ) 和“交际翻译”( Communicative Translation )的新概念对翻译理论研究做出了极大的贡献。

他指出：语义翻译和交际翻译的区别主要体现在译语表达形式上。

语义翻译要求译文接近原文的形式，在结构和词序安排上力求贴近原文；交际翻译则注重接受者的理解和反应，即信息传递的效果。

交际翻译要求译者重新组织语言结构，以使译文地道、流畅。

一、语义翻译与交际翻译简介Newmark的“语义翻译”和“交际翻译”是在翻译界长期围绕直译和意译争论不休的背景下提出来的。

他认为，自公元1 世纪以来，那些沉醉于直译和意译争论的研究者们都忽略了翻译还应当考虑翻译的目的、读者的特点和文本的类型，争论双方都把翻译过程看得太过理想化了。

忠实于原文还是忠实于译文的矛盾是翻译理论和实践中永恒的主题，但Newmark认为这种矛盾是可以调和的。

在语义翻译中，目标文本应该在目标语的语义和句法结构允许的情况下尽可能准确地再现原文的语境意义。

语义翻译拥有逐字翻译、直译和忠实翻译的优势，但它与直译的区别在于，直译后的译文只能将原文本词语的基本意义翻译出来，虽然符合目标语的句法结构，但未考虑原语用语的语境因素和使用场合。

在语义翻译中，译者首先必须忠于原作者，服从原语文化，只在对原语文本的内涵意义理解出现解障碍时才加以解释。

因此，语义翻译有时更倾向于超额翻译( overtranslation )；相比较而言，交际翻译拥有归化、意译和地道翻译的优势。

在交际翻译中，目标文本所产生的效果应力求接近原文本。

由于重效果而不重内容，所以交际翻译首先要忠实于目标语和目标文本的读者，要求原语服从目标语的文化，不给读者留下晦涩难懂之处。

因此，交际翻译有时更倾向于欠额翻译( undertranslation )。

理论广角幸福生活指南224幸福生活指南浅析杨宪益及戴乃迭翻译风格——以名著节选为例胡晶晶 康春颖南京工程学院摘 要：说起中国著名的译者，翻译家，不得不提的就是神仙眷侣——杨宪益、戴乃迭夫妇。

作为译者和文化传播者，杨宪益、戴乃迭夫妇专心译事、笔耕不辍，共同翻译了百余种中国文化典籍和文学作品，译文准确、生动、典雅，成为“所有研究中国文化的西方学者眼中的经典”。

杨宪益是饱读四书五经,受到良好中国传统教育的儒学大家，戴乃迭是在中国出生,在英国教育的滋养下成长起来的优秀的汉学家。

夫妻俩中西合璧，珠联璧合,倾尽毕生心血于中国传统经典文化的翻译与传播，从先秦诸子散文到古典名著，从唐宋诗词到现代散文诗歌，译著达数百部，为中西方搭建了一座宝贵的文化桥梁。

本文就杨宪益、戴乃迭夫妇翻译过的著作为例与其他著作进行初步对比，并浅析其翻译风格及特点，以及他们的成就给中国翻译界带来的影响。

关键字：杨宪益；戴乃迭；翻译风格；对比；影响一、“生硬”的忠实风格作为学贯中西的文化传播者，杨、戴二人在中国文化对外传播的过程中，具有超前的文化翻译观，尽力向世界展示中国文化的本来面目。

杨宪益所处的时代，西方世界对中国文化误解、曲解较多，也常会出现强势文化对于东方文化的故意误读，但他们在翻译过程中并没有故意迎合西方读者的审美趣味，而是采用相对“生硬”的忠实译法。

例1 “癞皮狗，你骂谁？”王胡轻蔑地抬起眼来说。

“Mangy dog, who are you calling names?” Whisker Wang looked up contemptuously.(杨、戴)“Mangy-hided dog, whom are you cursing?” sneered Wang-hu, lifting his eyes disdainfully. (港版)此处清晰可见杨戴的忠实翻译风格，从整个句式到用词都非常的忠实原文，尤其是“王胡轻蔑地抬起眼来说”，并没有像港版翻译中先用sneer 表示动作及态度，而是一气呵成。

论《红楼梦》杨宪益英译英译本中诗歌的翻译补偿策略摘要由于众多因素对翻译活动的影响, 损失在翻译过程中是不可避免的。

可以说, 翻译损失从翻译活动存在时就一直与翻译相伴。

但事实并非如此, 翻译补偿研究并没有得到应有的重视,还有很多领域有待探讨。

直到 20 世纪八十年代,译界才开始认真对待翻译补偿。

国内外的学者夏廷德, 尤金? 奈达, 乔治? 斯坦纳等提出了自己的翻译补偿理论,大多以翻译对等作为翻译宗旨,把补偿看做是一种翻译技巧。

由杨宪益和戴乃迭夫妇完成的《红楼梦》英译本得到了国内外诸多学者的广泛关注和肯定。

本文在国内外翻译补偿理论研究成果的基础上, 精选部分诗歌, 试探索了译者在诗歌翻译过程中在词汇、语篇和审美三个层面所采取的翻译补偿策略。

词汇层面主要采用了增益, 具体化, 概括化, 省略和加注的方法。

语篇层面上主要通过添加逻辑连接词和人称代词的方法来实现翻译的补偿。

审美层面上,本文主要从诗歌的押韵和其英译来分析。

关键词 :翻译补偿; 诗歌; 《红楼梦》iAbstractDue to various factors that imposed on translation activity, loss of translation isinevitable in translation process. Translation losses go with translation when the translationactivities exist. However, the fact is that translation compensation research doesn’t get itsdue attention and many areas of it remain to be carefully probed into. It is not until the1980s that translation compensation is regarded seriously. Scholars at home and abroadsuch as Xia Tingde, Eugene Nida, George Steiner and others elaborate on translationcompensationThe English version of A Dream of Red Mansions translated by Yang Xianyi and hiswife Gladys Yang is widely and greatly praised by numerous scholars both at home andabroad. The author selects the poems based on the known translation compensation theory;and endeavors to explore strategies of compensation adopted by the translator at lexical 、discourse and aesthetic levelsFive compensation strategies amplification, specification, generalization, omissionand annotation are used in lexical levelCompensation at discourse level is realized byadding logical conjunctives and person deixis. In aesthetic level, this thesis is mainlyanalyzed from the rhyme of poems and its translation textKey Words: translation compensation; poems; A Dream of Red Mansions ii广西师范学院硕士学位论文论《红楼梦》杨宪益英译本中诗歌的翻译补偿策略ContentsAbstract in ChineseiAbstract in English iiChapter 1 Introduction11.1 Significance of the Present Research11.2 Purpose of the Present Research.11.3 Framework of the Thesis2Chapter 2 Literature Review32.1 The Definition of Translation Compensation.32.2 Previous Studies on Translation Compensation32.2.1 Translation Compensation Studies Abroad42.2.2 Translation Compensation Studies in China..9Chapter 3 Theoretical Framework. 143.1 Classifications of Compensation143.2 Principles of Translation Compensation 15Chapter 4 Compensation Strategies Adopted in the Translation of Poems in ADream of Red Mansions. 184.1 Compensation at the Lexical Level. 184.1.1 Amplification. 184.1.2 Specification 204.1.3 Generalization. 204.1.4 Omission224.1.5 Annotation within Text 25广西师范学院硕士学位论文论《红楼梦》杨宪益英译本中诗歌的翻译补偿策略4.1.6 Annotation outside Text314.2 Compensation at the Discourse Level. 314.2.1 Logical Conjunction. 324.2.2 Person Deixis 334.3 Compensation at the Aesthetic Level 38Chapter 5 Conclusion. 41Bibliography 44Paper Published During the Study for M. A. Degree 47Acknowledgements48 广西师范学院硕士学位论文论《红楼梦》杨宪益英译本中诗歌的翻译补偿策略Chapter 1 Introduction1.1 Significance of the Present ResearchA Dream of Red Mansions, written by Cao Xueqin, is a great work with high ideologythand artistry, and it is also one of the most famous classics in China in the middle of the 18century. It is an encyclopedia that reveals different aspects of ancient Chinese feudalsociety. There are about more than 230 various poems which covers 50% of the wholenovel. The distinctive feature of this work lies in these poems that adds artistic charm on,which becomes a big challenge to its translationMany translators have come under this novel’s spell and embarked on their translationof it. The English version A Dream of Red Mansions translated by Yang Xianyi and hiswife Gladys has aroused tremendous attention around the world. Moreand moreresearches have been made about translation compensation strategies and great numbers ofbooks, articles and theses about the study of poems in A Dream of Red Mansions have alsobeen published, but this thesis is one of the first studies in the analysis of compensationstrategies for the translation of poems in Yang Xianyi’s version of A Dream of RedMansions1.2 Purpose of the Present ResearchThis thesis is an attempt at analysis of compensation for the translation of Chinesepoems in A Dream of Red Mansions. To be more specific, the purpose of this study is toexplore how translation compensation is realized when the translator Yang Xianyi andGladys are confronted with poems in A Dream of Red Mansions. And the author tries tomake some contribution to the development and improvement of translation compensation1广西师范学院硕士学位论文论《红楼梦》杨宪益英译本中诗歌的翻译补偿策略theoryThis thesis aims to probe into translation compensation from three levels: the lexicallevel 、 discourse level and aesthetic level in terms of strategies of compensation. In addition,the principles of compensation should be followed during the process of employingcompensation1.3 Framework of the ThesisThis thesis is composed of five chapters. Chapter One, the author will make anintroduction, including purpose of the present research, significance of the present researchand preview of each chapter. Chapter Two will review the definition of translationcompensation and previous studies on translation compensation which will be detailedtalked from its development at home and abroad. Chapter Three is theoretical framework,classifications of compensation and principles of translation compensation will bediscussed respectively in this chapter. Compensation strategies adopted in translation ofpoems in A Dream of Red Mansions will be analyzed in Chapter Four; the author willdiscuss compensation strategies Yang Xianyi and Gladys adopted in translating the poemsfrom three levels: compensation at the lexical level 、 discourse level and aesthetic level, andcompensation at the lexical level and discourse level will be focused on. The last chapterserves as the conclusion, in which the author will summarize the whole thesis, includingmajor findings, implications and limitation of this thesis will also be presented 2广西师范学院硕士学位论文论《红楼梦》杨宪益英译本中诗歌的翻译补偿策略Chapter 2 Literature Review2.1 The Definition of Translation CompensationTranslation losses live along with emergence of translation activities due to thelinguistic and cultural differences, from this we can see that translation compensation andcompensation theory should begin quite early, however, this is not the truth. Although wehave achieved great success in translation research, the significance of translationcompensation has not been paid attention to. Compared with other translation studies, it isa marginal area in translation theory research. The results of study conducted by KeithHarvey shows that throughout the 1960s and 1970s, compensation, compensatory andcompensate for were used loosely as semi-technical terms in the literature Baker, 1998:38. It is not until 1980s that translation compensation has been defined more rigorously byscholars. Different scholars have different definitions about translation compensationAccording to Newmark 2001b: 90, “This compensation is said to occur when lossof meaning, sound effect, metaphor or pragmatic effect in one part of a sentence ascompensated in another part, or in a contiguous sente nce.” For Harvey 1995: 66,“Compensation is a technique which involves making up for the loss of a source textaffected by recreating a similar effect in the target text through means that are specific tothe target language or the text.” While Baker 2000: 78 holds adifferent view that “thiscompensation means that one may omit or play down a feature such as idiomaticity at thepoint where it occurs in the source text and introduce it elsewhere in the target text.”Hatim and Masor 2001: 239 regard tran slation compensation as “In translating, themaking good of some communicative loss by substituting equivalent effects”2.2 Previous Studies on Translation Compensation 3广西师范学院硕士学位论文论《红楼梦》杨宪益英译本中诗歌的翻译补偿策略2.2.1 Translation Compensation Studies Abroad2.2.1.1 Nida ’s View of CompensationNida, as the vanguard of modern translation theory, seldom talked aboutcompensation in his early translation works. In his most representative book Toward theScience of Translating 1964, he mentioned compensation when illustrating features ofwriting style. However, he referred to the universal features and strategies of loss inwriting style which didn’t deal directly with translation compensationAs more studies on linguistics and disciplines related to translation,Nida’s attention inits concern has been aroused. In Language, Culture and Translating 1993, he illustratedcompensation from the perspective of function while discussing functional equivalence,and put forward functional compensation strategies based on isomorphism. Compensationfor a lack of isomorphism can be regarded as a means of accurately representing themeaning of source text. For example, because of lack of close correspondence in figurativeexpressions, it is necessary to translate some figurative phrases in the source language bynon-figurative ones in the target language. However, if too many such figurative phrasesbecome non-figurative ones, much of impact of a passage will be lost, which is particularcritical for poetry. In order to compensate for such loss, it is significant to translate somenon-figurative phrases by figurative strategies. In this way, the balance with the originaltext can be obtained in some extentTherefore, we can summarize Nida’s studies on translatio n compensation as thefollowing three aspects: Firstly, compensation should be based on functional equivalence,which is to obtain functional equivalence by means of compensation for isomorphismSecondly, the same strategies can be used to compensate in different locations. Thirdly,equivalence of the whole can be realized by local compensation “Functional equivalence” is the basis of Nida’s translation theory which is concluded4广西师范学院硕士学位论文论《红楼梦》杨宪益英译本中诗歌的翻译补偿策略from the Bible translation. Therefore, he attaches more importance to functionalequivalence. Although he makes the statement about compensation, Nada takes metaphorof the loss of surface structure as an example to elaborate the process of compensationActually compensation for the loss of isomorphism involves abstract aspects in his deepstructure as well2.2.1.2 George Steiner ’s View of Compensation George Steiner is one of the contemporary translation scholars who have the mostprofound elaboration on translation compensation. His elaborationabout compensation canbe found in After Babel, which published in 1975. In this classical work, he gives anincisive statement about translation compensation from the perspective of philosophyAccording to Steiner 2001, he takes translation as a hermeneutic process that concludedby four steps and compensation is the last one. The four steps are trust, aggression, importand compensation. “Trust” is the first step, which means that the translator should have aninitiative trust to the original. “Aggression” is the second s tep, which originates fromHeidegger, who regards understanding process as movement and the thing that is onlybeing translated can come into authentic being. The next step is import, Steiner 2001:312-316 points out that “the assimilation of meaning an d form is not made in or into avacuum. The native semantic field is already extant and crowded. There are innumerableshadings of simulation and placement of the newly-acquired, ranging from a completedomestication; the other permanent strangeness and marginality of an artifact. Butwhatever the degree of naturalization’, the act of importation potentially dislocates orrelocates of the native structure”. In order to reduce the loss and regain the balance, thetranslator has to compensate for the loss, which is the forth step of translation activity,should be adopted. Steiner defines compensation from two aspects: First, the translatorcompensates the loss in translation; second, the translated text compensates for loss of thesource language due to difference of time and space. Steiner’s compensation theory can be5广西师范学院硕士学位论文论《红楼梦》杨宪益英译本中诗歌的翻译补偿策略summarized in the following aspects: the translation loss occurs throughout the wholeprocess of translation; aesthetic activity is the primary cause of translation loss;compensation should not be judged by the addition or reduction of the words; theconnections between source language and target langue are dialecticalFrom the above discussion, we can see that Steiner’s research on compensationconcludes process, cause, feature and demerit, which gives us significant inspiration andguidance for putting further and thorough study on translation loss, compensationstrategies and improve translation quality. However, Steiner mainly blames too muchtranslation loss on aesthetic subject despite insuperable linguistic and cultural barriers ofthe esthetic subject, i.e. the source text2.2.1.3 Newmark ’s View of CompensationNewmark claimed that puns, rhyme, slang, metaphor, pregnant words-all these can becompensated, if it worthy of the efforts-though sometimes it isn’t. While Newmark paysmore attention to text-type and function. He puts forward communicative translation andsemantic translation. Actually his ideas about compensation are based on text function. Inhis opinion, the limit of transitivity attributes to translation loss, and “compensation issaid to occur when loss of meaning, sound effect, metaphor or pragmatic effect in one partof the sentence is compensated in another part, or in a contiguous sentence”Newmark,2001a: 31Newmark’s compensation theory mainly involves the following three points: Firstly,from a macroscopic point, employment of compensation is determined by text-type andfunction; while from a microscopic point, compensation is determined by the value ofpotential target to be compensated, i.e. to ensure the rationality of compensation judged bywhether the loss is important or not in the context. Secondly, for the expressive text, thewriter should be kept at the central point, and respect the surface form of the source text;while for the vocative text, the reader is taken as core. Thirdly, there are seldom equivalent6广西师范学院硕士学位论文论《红楼梦》杨宪益英译本中诗歌的翻译补偿策略words between source language and target language. Therefore, in our translation, weshould keep the balance between translation economy and compensationNewmark lays his compensation theory on text-type and function, which makes thetranslator have definite purpose in mind and avoid the blindness and irrationality duringthe process of compensation. What’s more, Newmar k puts forward the contradictionbetween compensation and economy and the style of translated text, which is indeed worthconsidering carefully. But the scope of compensation for expressive text is relativelylimited2.2.1.4 Baker ’s View of CompensationMona Baker’s view of compensation mainly can be found in her work In Other Words:A Courseboook on Translation 2000, in which he talks about compensation forequivalence of lexeme and hyper-lexeme level. The compensation techniques that Bakerproposed aim to obtain translation equivalenceIn lexeme level, Baker thinks that there is often no equivalent in the target languagefor a particular form in the source text. In such a condition, there are “two choices fortranslators: their subtle contribution to the overall meaning of the text is either lostaltogether or recovered elsewhere by means of compensatory techniques” Baker, 2000:24. As for the hyper-lexeme level, Baker takes idiomaticity as an example. She suggeststhat the translators either omit or play down a feature at the point where it occurs in thesource text and introduce it elsewhere in the target text. Baker 2000: 78 argues that “thisstrategy is not restricted to idiomaticity or fixed expressions and may be used to make upfor any loss of meaning, emotional force, or stylistic effect which may not be possible toreproduce directly at a given point in the target text”2.2.1.5 Wilss ’s View of Compensation7广西师范学院硕士学位论文论《红楼梦》杨宪益英译本中诗歌的翻译补偿策略Wolfram Wilss is a well-known German translation scholar. Wilss 2001: 39-40thinks that the range of compensation strategies in any instance varies from one languagepair to another. What’s more, the question of relativetranslatability vs. untranslatabilityof the text has also played a significant role in the modern science of translationFor the untranslatability of culture, Wilss holds that can be resolved by compensationFor example, “adaption amounts to textual compensation for sociocultural differencesbetween the SL and the TL co mmunities” Wilss, 2001: 99. His compensation theory canbe summarized as the following three aspects: First, compensation should take both thesource text and target text into consideration to obtain communicative synchronizationSecondly, compensation range should be applied both microcontextually andmacrocontextually. Thirdly, the range of compensation strategies in any instance variesfrom one language pair to another. Fourthly, compensation is a reconstruction process ofdefinite semantic elements in the context at the sentence and discourse levelsIn all, Wilss puts more attention on communicativeness of text and doesn’t attachimportance to compensation for aesthetic elements andfunction2.2.1.6 Hatim and Mason ’s View of Compensation Hatim and Mason pay great attention to the communicative function of translation;Hatim and Mason 2001: 1 regard translation as “in creating a new act of communicationout of a previously existing one”, their central concern which can be found in Discourseand th e Translator: “tra。

杨宪益翻译思想及语言运用评价作者：李宛蓉来源：《知识文库》2016年第09期杨宪益，文学家与翻译家。

该文通过对杨宪益翻译作品所体现出的翻译思想进行分析与评价，指出虽然杨译的作品确实存在些许问题与不足之处，但是从整体上的翻译效果以及其对中国的翻译事业与文化传播作出的贡献来说，杨宪益确是中国难得的翻译家与学者。

一、杨宪益的翻译思想评价杨宪益一生从事翻译工作，在他演讲与出书序言中谈过自己对翻译的一些看法，即翻译要坚守严复的“信达雅”三准则，做到忠实与通顺；翻译的可译性。

后人又在其翻译的作品中总结了另外两个翻译思想：归化与异化结合，异化为主；直译与意译结合，直译为主。

下面我就将对这四个翻译思想逐一进行举例说明评价。

（一）、坚守严复“信达雅”三原则，重忠实与通顺“信”“达”“雅”是由思想家严复提出的。

杨宪益认为，翻译的原则，是“信达雅”三个字。

总的原则是对原作的内容，不许增加和减少。

既要忠实于原文，又要表达原作的神韵。

译者要忠实于原作者的思想感情，尊重原作者的创造性工作。

针对杨宪益的忠实与通顺，下面以《卖花女》中杨宪益译本来分析：The bystander： You be careful：give him a flower for it. There’s a bloke here behind taking down very blessed word you’re saying.The flower girl：I aint done nothing wrong by speaking to the gentleman. I’ve a right to sell flowers if I keep off the kerb.—杨译如下：旁边的人：你留点神：给他一支花。

后面有个人可把你说的话全给记下来了。

卖花女：咱跟那位先生说句话不能算是作坏事呀。

咱卖花也不犯法，又没在人行道上。

—《卖花女》讲的是语言学家希金斯与友人打赌，说可以将来自下层社会的语言极其不标准的卖花女伊莉莎训练成贵妇的故事。

杨宪益：他“翻译了整个中国”又一位文化老人走了。

他也许是中国最后一个集“士大夫”、“洋博士”和“革命者”于一身的知识分子了。

他是把《史记》推向西方世界的第一人；他翻译的《鲁迅选集》，是外国的高校教学研究通常采用的范本；与夫人合作翻译的《红楼梦》三卷本，是至今为止唯一一部由中国人翻译的全译本；与英国两位汉学家合译的五卷本（译名《石头记》）一并，成为西方世界最认可的《红楼梦》译本；他还翻译了《离骚》、《资治通鉴》、《长生殿》、《牡丹亭》、《老残游记》、《儒林外史》等经典作品。

他就是中国著名翻译家、外国文学研究专家、诗人杨宪益。

他于2009年11月23日，离开了我们。

伉俪恩爱，走上翻译之路1915年1月10日，杨宪益出生于天津花园街8号的大公馆内。

其父杨毓璋曾经留日，并当过天津中国银行行长。

1928年，杨宪益进入英国教会学校新学书院学习，1936年，进入牛津大学深造。

在那里，他遇到了一个美丽的英国姑娘——戴乃迭，他们给世人演绎了中西合璧的山盟海誓。

戴乃迭，原名GladysB&middot；Tayler，于1919年生于北京一个传教士家庭。

她在北京度过了快乐的童年。

1937年，戴乃迭考入牛津大学，攻读法国文学。

当年牛津大学有许多俱乐部性质的协会，导师修文斯先生介绍她加入了中国协会。

由此，她结识了后为该协会主席的中国留学生杨宪益。

杨宪益本是津门富家子弟，才华横溢。

他的聪明、调皮和幽默，以及身上洋溢着的中国传统文化的魅力，深深吸引着戴乃迭。

家庭的熏陶和戴乃迭本身固有的中国情结，使她对杨宪益一见钟情。

当时，日本侵略中国日甚，杨宪益主持的牛津中国协会反日活动十分活跃，他将100多人的组织发展到了1000多人，钱钟书、杨绛、俞大缜等皆是成员。

杨宪益到处发表文章、演讲、募捐，戴乃迭一道参与。

自从结识了杨宪益后，戴乃迭毅然放弃了法国文学专业，改学中国文学，成为牛津大学第一位获得中国文学荣誉学位的毕业生。

杨宪益也放弃了法国文学专业，改学英国文学。

作者简介：徐祯，研究生在读。

研究方向：英语笔译。

陈红梅，通讯作者，教授。

研究方向：犹太文学文化和翻译。

13鲁迅作品在世界的传播构建了桥梁。

同时该译本也体现了浓厚的译者特色。

勒菲弗尔将翻译家称为改写者，他认为无论在过去还是现在，改写人可以创造出一个作者、一部作品、一个时代和一种体裁。

勒菲弗尔将翻译放到更加宏大的社会文化语境中去审视。

勒菲弗尔的翻译三要素理论指出，意识形态、诗学和赞助人都会对译者的翻译产生影响。

因此，对于译者而言，他们的工作绝不仅仅是在语言层面上将一种语言转换成另一种语言，相反，译者在翻译时会受到诸多因素的限制。

在这一过程中，译者的翻译工作也必定会受到如意识形态、诗学等社会文化因素的影响。

本文选取《社戏》杨宪益英译本为研究案例，具体分析了《社戏》杨宪益英译本是如何体现翻译三要素的。

2三要素在《社戏》杨宪益英译本中的具体体现2.1意识形态因素意识形态是指反映特定经济形态、特定阶级或社会集团利益和要求的观念体系，人类的政治、道德、哲学、法律、宗教和艺术等内容都包含在其中。

由于翻译具有跨语言、跨文化的特点，翻译工作必然会受到意识形态的影响。

除此以外，译者作为翻译工作的主体，不同的译者具有不同的教育经历和成长环境，因此，译者本身具有的意识形态千差万别，这在翻译过程中也会体现出来。

杨宪益在翻译《社戏》时也不可避免地受到了自身意识形态的影响。

例如，杨宪益将“社戏”翻译为village opera。

但社戏通常指旧时某些农村地区在迎神赛会时演出的戏，一般在庙里戏台上演出，也有露天搭台演出的。

由此可知，社戏的目的是祈福，带有祝福的意味。

但杨宪益英译本仅简单地将社戏翻译为village opera，只译出了社戏的表层文字意义，并未译出社戏背后蕴含的祈福敬神的意义。

若译者在village opera后面加上对社戏的解释，或许能让外国读者更好地理解其含义。

由于译者是本国人，对社戏的概念了解得比较透彻，他的意识形态会影响到他的翻译。