Talmy注意图式系统理论下的《醉翁亭记》英译对比研究
A Comparative Study on the English Translation of Drunkard Pavilion Records from the Perspective of Talmy’s Attention System Theory

《醉翁亭记》是中国古典文学中一篇重要的散文，体现了欧阳修“寄情山水、与民同乐”的文学思想。本文从认知语言学的角度，选取《醉翁亭记》汉学家Giles的译本以及中国翻译家杨宪益的译本，以Talmy的注意图式系统为框架，从注意力强度、注意力方式、注意力层次三个方面来对比分析两个译本之间的异同。研究发现：1) Giles作为外语者，在认知焦点上遵从于原文，想要最大程度地还原原文，以读者为导向，使用的英语更为地道，便于译文读者理解。2) 杨宪益更加强调语义的翻译，翻译过程中作为母语者与原文有着不同的认知焦点，根据自己的理解将原文的语义内容通过不同的结构表述出来。本文基于Talmy的注意图式系统理论，对比研究《醉翁亭记》英译本，为研究译者在翻译过程中的认知加工提供新思路，以期对中国古代文学译本的翻译批评研究拓宽新视角。
Drunkard Pavilion Records is an important prose in Chinese classical literature, which embodies Ouyang Xiu’s literary thought of “devoting oneself to mountains and rivers and sharing joy with the people”. From the perspective of cognitive linguistics, this paper selects the translation of Drunkard Pavilion Records by Giles and Yang Xianyi. It uses Talmy’s attention schema system as the framework to compare and analyze the similarities and differences between the two versions from three aspects: strength of attention, pattern of attention, and level of attention. The study found that 1) Giles, as a foreign language learner, followed the original text in terms of cognitive focus, wanted to restore the original text to the greatest extent, was reader-oriented, and used more authentic English, which was easier for the translation readers to understand. 2) Yang Xianyi put more emphasis on semantic translation. In the process of translation, as a native speaker he had different cognitive focus from the original text and expressed the semantic content of the original text through different structures according to his own understanding. Based on Talmy’s theory of attention schema system, this paper makes a comparative study of the English version of Drunkard Pavilion Records in order to provide new ideas for the study of the translator’s cognitive processing in the translation process, and to broaden a new perspective for the translation criticism study of ancient Chinese literature.