Abstract:

From the perspective of semantic and stylistic coherence, this paper first illustrates the unique textual coherence and stylistic effects produced by the opposition and contrast between free indirect discourse (FID) and direct speech in stream of consciousness literature, followed by a case study of Virginia Woolf’s To the Lighthouse. It then compares two well-known translations of this novel in the Chinese language, and investigates the methods used to represent the characters’ speech in the process of translation. Based on the contrastive analysis of some typical examples of speech presentation in these two different translations and languages, it was found that many translators of the novel appeared to lack awareness of the semantic and stylistic coherence constructed by the different modes of speech presentation in the of stream of consciousness source text, as the translators often tended to simplify the language and the literary style, and merely simplified the language features of the source text in an attempt to make the translated texts easier to be read and interpreted by the target language readers. However, this approach greatly distorted the stream of consciousness style, and damaged the originally impressive narrative effect that was achieved by the opposition and contrast between FID and direct speech in the source text.

Keywords: free indirect discourse; direct speech; semantic coherence; stylistic coherence; translation strategies; stream of consciousness novels

摘要：

本文从语义连贯和文体连贯的角度出发，首先论证了意识流文学作品中由直接引语和自由间接话语的差异和对立所形成的独特的语篇连贯功能和机制，然后以英国作家弗吉尼亚·伍尔夫《到灯塔去》为例，比较了该作品的两个中文译本，探讨了原著中人物话语的两种呈现方式在汉译过程中所体现的翻译思路和风格。研究发现，译者往往并不具备明确的文体意识和语篇连贯意识，为降低译文读者理解原著和译本的难度，对话语呈现方式的翻译与再现展现出随意和简化处理的思路和风格。这直接导致目的语中意识流文学作品独特叙事效果的变形和亏损。

关键词: 自由间接话语, 直接引语, 语义连贯, 文体连贯, 翻译策略, 意识流小说