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武漢科技大學(xué)本科畢業(yè)論文本科畢業(yè)論文題目：紅樓夢中建筑名稱的文化內(nèi)涵及其翻譯學(xué) 院:外 國 語 學(xué) 院專 業(yè):英 語學(xué) 號:200614118079學(xué)生姓名:指導(dǎo)教師:日 期:2010年6月4日23摘 要自20世紀(jì)80年代以來，“文化翻譯” 逐漸成為翻譯研究關(guān)注的焦點之一。該翻譯觀認(rèn)為,譯語文化語境因素是比語言學(xué)上的差異更為重要的制約因素,它深刻影響著我們的翻譯活動。在文化趨于全球化的今天，翻譯作品便成了一個國家或民族了解另一個國家或民族的重要手段之一。紅樓夢是中國文化藝術(shù)領(lǐng)域的一塊瑰寶，其中包含的豐富文化是西方讀者了解中國的重要途徑。其最著名的英文全譯本是霍譯本（David Hawkes & John Minford）和楊譯本（楊憲益、戴乃迭）。本文側(cè)重于研究紅樓夢中建筑名稱的文化內(nèi)涵及其翻譯策略。紅樓夢中描繪了很多美侖美奐的建筑，如大觀園，瀟湘館，稻香村等等。這些名稱不僅僅是地理概念,而且與民族文化、宗教思想、風(fēng)俗習(xí)慣等密切相關(guān),是一種文化現(xiàn)象，具有極豐富的文化內(nèi)涵。直到20世紀(jì)后半葉為止，翻譯理論一直陷于“直譯”（literal）、“意譯”（free）與 “忠實” （faithful）之辯的泥沼。盡管在很多情況下直譯與意譯是互相補充，不可偏廢的，直譯仍然被視為能夠保留原作風(fēng)味的最好方法，尤其是在文學(xué)作品的翻譯中。本文將結(jié)合一定的實例分析建筑名稱的文化內(nèi)涵，并得出建筑名稱的基本翻譯方法。關(guān)鍵詞： 文化翻譯； 紅樓夢建筑名稱； 文化內(nèi)涵AbstractSince 1980s, “Cultural Translation” has gradually become one of the focuses of translation studies. This concept holds the view that the cultural context of the target language, which influences our translation activities profoundly, is a more important restrained element than the differences on linguistics. Nowadays, cultures have a trend of globalization and translating literary works becomes a significant method to know about other countries and nations. A Dream of Red Mansions is a splendid treasure in the field of Chinese culture and art. The rich culture included is an important channel for western readers to know about China. Among these full translations, the most famous English ones are the version by David Hawkes & John Minford and the version by Yang Xianyi & Gladys Yang. This paper focuses on the cultural connotations of architectural names in A Dream of Red Mansions and its translation strategies. There are many magnificent buildings depicted in this masterpiece, for example, Da Guan Yuan, Xiao Xiang Guan, Dao Xiang Cun, etc. These architectural names are not just geographical conceptions, but also closely related to the nations culture, religious thoughts, and customs and so on. It is a cultural phenomenon, which contains rich cultural connotations. Until the latter half of 20th century, translation theory has always been in the debate of “l(fā)iteral”, “free” and “faithful”. Although in many cases, literal translation and free translation should be used together instead of separately, literal translation is regarded as the best method to keep the original style of the work, especially in the translation of literary works. This paper analyzes the cultural connotations of the architectural names with certain examples, and then comes to the basic translation methods.Key words: cultural translation; architectural names in A Dream of Red Mansions; cultural connotationsContents1Introduction.12 Culture and Translation.23A Dream of Red Mansions and Its Architectural Names.43.1Brief Introduction to A Dream of Red Mansions.43.2Architectural Names in A Dream of Red Mansions.54 Classifications of Architectural Names in A Dream of Red Mansions and Their Cultural Connotations.64.1 Residential Buildings.7 4.2 Religious Buildings.104.3 Public Buildings.13 5 Translation Methods of Architectural Names.155.1Literal Translation.16 5.2Free Translation.17 5.3Literal Translation with Annotation.19 6 Conclusion.20Bibliography.21Acknowledgements.22Cultural Connotations of Architectural Names in A Dream of Red Mansions and Its Translation 1IntroductionA Dream of Red Mansions is a shiny pearl in ancient Chinese literature. Since it appeared in Qing Dynasty, it has enjoyed highly appreciation. With its translations spreading all around the world in different languages, it has been popular both at home and abroad. In recent years, the research about this novel has achieved great progress and Redology is formed therefore. The scholars not only study on the original work in different aspects, but also make comparison among different translations, especially between the version by Yang Xianyi & Gladys Yang and the version by David Hawkes & John Minford. Lots of aspects have been compared, such as the translation styles of the two versions, the translation of the characters names, the poems, the customs and so on. However, rare people have paid attention to the translation of architectural names in this novel. As it is well known, there is a splendid garden named “大觀園” in A Dream of Red Mansions. Most of the buildings in this garden own special names. These names are not meaningless code names, they express certain cultural connotations. Some are related to historical stories, some hint the masters personalities or even fates. Just as Liu Miqing says, there are “cultural codes” almost anywhere in languages, waiting for the decoding by the translators (劉宓慶，1995：316). Although this novel has been studied a lot by the scholars of Redology, the translation of the architectural names cultural connotations seems to be relatively vacant. So it deserves a further research. This paper will classify the buildings in this novel, then analyze the cultural connotations of certain architectural names, and at last discuss the translation methods with typical examples.2 Culture and TranslationWith the rapid development of science and technology, the whole world seems to become smaller and smaller because of the frequent and extensive exchanges among different countries and nations. The culture has shown a trend of globalization as well as the economy. Although there are all kinds of means of transmitting culture and promoting cross-cultural exchanges, the most direct way is through language. Language, of course, is a part of culture, but it is also an instrument to express culture. However, according to the Bible, since God confused the language of all the earth because of the Tower of Babel, different languages have appeared and brought great difficulties to the communication of human beings(李娟，2005). Therefore, people of different languages have to depend on translation to communicate with each other. Translation is a very complicated activity. It is more than expressing the meaning of a word, speech, book, or text of a language in another language. It deals with culture as well. So what is translation? According to Peter Newmark, a famous English theorist of translatology, “Often, though not by any means always, it is rendering the meaning of a text into another language in the way that the author intended the text.” (Newmark, 1988:5). As different languages reflect different cultures and ways of thinking, it is the translators way of thinking that determines the quality of translation. In order to understand the authors intentions well and render the meaning well, it is very important for the translator to understand and handle the relationship between culture and translation, and to have a view of cultural translation. In order to understand the relationship between culture and translation, it is necessary to know the definition of culture. According to Oxford Advanced Learners English-Chinese Dictionary(Sixth Edition), culture is defined as the following: the customs and beliefs, art, way of life and social organization of a particular country or group; a country, group, etc. with its own beliefs, etc.; art, music, literature, etc., thought of as a group; the beliefs and attitudes about sth that people in a particular group or organization share; (technical) the growing of plants or breeding of particular animals in order to get a particular substance or crop from them; (biology, medical) a group of cells or bacteria, especially one taken from a person or an animal and grown for medical or scientific study; the process of obtaining and growing for medical or scientific study; the process of obtaining and growing these cells (Oxford Advanced Learners English-Chinese Dictionary, 2004: 412-413). It is easy to find out that the first two items are the narrow senses and the rest four items are the broad senses of culture. Narrow sense stresses spirit, social superstructure, which is relatively abstract; broad sense deals with more specific aspects of the society, including different fields. Generally speaking, culture can be classified into two categories: material culture and spiritual culture. Antiques, places of interest, clothes and so on are parts of material culture; peoples ways of thinking, religious beliefs, languages, etc. are certain aspects of spiritual culture. So what is the relation between culture and translation? Actually, culture and translation are connected together by the bridge of language. No matter what kind of culture it is, once it comes into existence, it must be spread, exchanged and developed through language. American theorist of translatology Eugene A. Nida points out that “Since culture is defined succinctly as the totality of beliefs and practices of a society, nothing is of greater strategic importance than the language through which its beliefs are expressed and transmitted and by which most interaction of its members takes place.” (Nida, 2001: 78). On one hand, translation, in its essence, is the switch between two languages. On the other hand, language is a part of spiritual culture. Therefore, the relationship between culture and translation can be seen from the relationship between culture and language. Susan Bassnet, a famous English woman theorist of translatology, attaches great importance to the function of language in translation. She compared language to the heart of cultural organism. She thinks that the translator is like a heart specialist who operates on a beings heart, the specialist cant overlook the other parts of the human body. When one do translation, one cant separate the speech contents of translation from culture as well (Bassnett, 1994). In other words, through language, culture can be translated into a new look. Whether the new look is similar to or distinct from its original look is determined by the translators understanding of the original culture. Thus, it is significant to build the view of cultural translation.Since 1980s, “Cultural Translation” has gradually become one of the focuses of translation studies. Cultural translation is a concept used in cultural studies to denote the process of transformation, linguistic or otherwise, in a given culture. It uses linguistic translation as a tool or metaphor in analyzing the nature of transformation in cultures. This concept holds the view that the cultural context of the target language, which influences our translation activities profoundly, is a more important restrained element than the differences on linguistics.To sum up, culture, language, and translation are closely related. Without translation, languages would be nonsense for the foreigners, let alone spread culture. For the purpose of cultural exchanges, one needs to take cultural factor into consideration when one does translation. This is not an easy step because not all translators could know different cultures well. But translators should at least have this basic view: culture matters a lot.Therefore, it is necessary to take cultural elements into consideration in the translation of A Dream of Red Mansions. Also, it is essential to conduct the cultural analysis of its architectural names in the process of translation.3 A Dream of Red Mansions and Its Architectural NamesSpeaking of Chinese culture, ancient Chinese literature plays an indispensable role. Among millions of literary works, one of the most well-known masterpieces is A Dream of Red Mansions. It is one of Chinas Four Great Classical Novels, enjoying highly appreciation in the field of literature both at home and abroad.3.1 Brief Introduction to A Dream of Red MansionsA Dream of Red Mansions was composed approximately between 1749 and 1759 during the Qing Dynasty. The author is Cao Xueqin, who composed 80 chapters before his death. The current full version is an added version, including 120 chapters, with the latter 40 chapters written by Gao E. Generally speaking, this novel has two clues. One is the tragic love between the main characters Jia Baoyu and Lin Daiyu. The other is the ups and downs of four feudal clans named Jia, Shi, Wang, and Xue. Through these clues, the novel depicts a whole picture of the feudal society of China in middle 18th century, exposing the complicated human nature and all kinds of social problems. The novel is believed to be semi-autobiographical, mirroring the fortunes of Caos own family. As the author details in the first chapter, it is intended to be a memorial to the women he knew in his youth: friends, relatives and servants. The novel is remarkable not only for its huge cast of characters and psychological scope, but also for its precise and detailed observation of the life and social structures of 18th century Chinese aristocracy. Redology is the field of study devoted exclusively to this work and the novel is generally acknowledged as the pinnacle of the Chinese classical novels.Since the first manuscripts circulated from the year 1759, the novel has been a continuously successful bestseller not only in China, but all over the world in its various translations. Currently there are 60 translations in 20 languages. Regarding the English versions, its translation has experienced a long history. From 1830 to 1986, 9 English versions appeared, among which 7 are partial ones and 2 are full ones. Two full translations are The Story of the Stone by David Hawkes & John Minford and A Dream of Red Mansions by Yang Xianyi & Gladys Yang. These versions are widely spread and have obtained highly evaluation. In 1970s, English translator David Hawkes started to translate the first 80 chapters. Then the version named The Story of the Stone was published by Penguin Group in 3 volumes. Later John Minford continued to translate the last 40 chapters, published in 2 volumes. Almost at the same time, Chinese famous translators Yang Xianyi and Gladys Yang set out to translate the novel. Their version named A Dream of Red Mansions was published by Foreign Languages Press in 3 volumes. These versions have pushed the translation career of Chinese classic novels forward greatly.3.2 Architectural Names in A Dream of Red MansionsReading this masterpiece may meet two difficulties: first, the huge cast of characters and their complicated relations; second, innumerable buildings (黃云皓，2006：1). These buildings are considerably intricate and delicate, especially “大觀園”. Although it is not really existent somewhere, it is more beautiful, elegant and ideal than any classic garden. Chinese classic architecture is very unique because it has been rarely affected by the outside world. Therefore, it is a precious material culture. In A Dream of Red Mansions, the author depicts such a gorgeous picture of aristocratic buildings that nowadays some places have constructed “大觀園” according to the description in the novel. Because of it fame, there appears two schools namely “Jing School” and “Ning School”. They claim that “大觀園” should be in Beijing and Nanjing respectively. Though the definite site is still controversial, both gardens have become places of interest already. It is the charm of the novel that makes them famous. Those buildings are the symbols of that certain times, signifying rich culture of Chinese nation.In a word, different buildings are the embodiment of different cultures. The shape, interior design, name of a building are all related to a specific culture. As it is well known, buildings in “大觀園” all own special names. These architectural names are not just geographical conceptions, but also closely related to the nations culture, religious thoughts, and customs and so on. It is a cultural phenomenon, which contains rich cultural connotations. Take “瀟湘館” for example, it is where the main character Lin Daiyu dwells. What does “瀟湘” mean? What kind of buildings can be called “館”? What is the feature of this building? What is the cultural implication of this name? Following chapters will discuss these questions in detail.4 Classifications of Architectural Names in A Dream of Red Mansions and Their Cultural ConnotationsAs it is mentioned before, those architectural names in A Dream of Red Mansions contain rich cultural connotations. For the purpose of understanding them well and then translating them vividly, it is necessary to study those buildings further. Since the buildings are innumerable, it is hard to research one by one. Generally speaking, they can be classified into three categories according to their use: residential buildings, religious buildings and public buildings (黃云皓，2006：8). 4.1 Residential Buildings Residential buildings are houses for people to live in. There are numerous residential buildings in this novel because there are innumerable characters as well. From the masters to the servants, all the people have their dwellings. However, not every house has a name. Residential buildings with names are usually more exalted than others. Name of the building is the symbol of the masters status and fame. It is the sign of the grade system of the ancient feudal society. Because most of the typical architectural names are concentrated in “大觀園”, here residential buildings mainly refer to buildings in this garden, where the main characters live and where most of the stories happen. The chart below is a list of some representative names and their respective cultural connotations.Chart 1 Names of the Residential BuildingsChinese NameCultural Connotation (Keywords)瀟湘館Bamboo; legend; personality of the master怡紅院Plantain; crab-apple; poem; hints; red蘅蕪苑Plants; pers