日前，笔者在西北大学南校区聆听了香港理工大学朱志瑜教授的关于文学翻译的翻译策略的讲座。朱教授从功能主义视角出发，追根溯源，向我们讲授了各种文本所适用的翻译策略，最后将重点落到文学翻译的翻译策略上，并通过举例让我们对文学文本的翻译形成了较为清晰的认识。

　　朱教授首先引入了柏拉图对语言的定义，“The one informs the other of something about things.”由此Karl Buhler得出了语言的三大功能：representation, expression, appeal. Representation is about things, which is sign objectively represents objects and states of affairs. It is relationship between sign and objects and states of affairs. In this sense, language is symbol. Expression is about the sender, which is sign subjectively expresses the inner states of the sender. It is relationship between sign and sender. In this sense, language is symptom. Appeal is about the receiver, which is sign appeals to the receiver (inner or out behavior). It is relationship between sign and receiver. In this sense, language is signal.

　　由此，朱教授得出结论，文本类型与翻译策略之间的关系: 非文学文本(non-literary)适合于意译(free translation); 文学文本(literary)适合于直译(literal translation)。

　　接着朱教授向我们介绍了Reiss关于表情文本的定义: “It is artistic shaping of the content. Here the sender is the foreground. The author of the text creates his topic himself; he alone, following only his creative will, decides on the means of verbalization(形式).”(“对内容的艺术加工。发送者为前景。文本作者创作主题，作者决定表述方式。”)Buhler认为: “a symptom by virtue of its dependence on the sender, whose inner states it expresses.” (1934/1993) 然后介绍了Newmark 关于表情文本的表述: “The mind of the writer, the speaker, etc. There are personal components of texts (idiolect): unusual (infrequent) collocations, original metaphors, “untranslatable words, unconventional syntax, neologisms, strange words (archaisms, dialect, odd terms) (Do not normalize these in translation.) 接着，朱教授又向我们引述了Nord关于表情文本的阐释: “expression of the sender’s attitude or feelings towards the objects and phenomena dealt with in the text.” (1997) 最后谈了他对中国传统文学翻译策略“神似化境”的看法。

　　最后，朱教授通过列举翻译实例，向我们阐释了文学翻译不仅要关注翻译文本内容，同时还要关注文本风格的翻译，并且指出，文学翻译最具挑战性的部分也就是文本风格的翻译。

　　通过聆听这次讲座，笔者对不同类型文本所适合采用的翻译策略有了较为清晰的认识，这对未来指导学生进行不同文本的翻译有巨大的指导意义。

　　基础部 崇宁