《孽子》英译本中的译者创造性叛逆研究

发布时间：2018-03-08 08:05

本文选题：创造性叛逆　切入点：葛浩文　出处：《安徽大学》2017年硕士论文　论文类型：学位论文

【摘要】：翻译是语言之间的转换,是不同文化之间进行信息交流的途径。在翻译的过程中必然会面临着语言差异和文化差异,而处理这些跨语言的信息时,不可避免地会出现不同程度上的信息缺失、添加和扭曲。对此,法国文学社会学家埃斯卡皮提出了"创造性叛逆"的理论,认为翻译就是创造性叛逆。传统的翻译研究视译者为叛徒,他们的价值往往会被否定。但是,创造性叛逆理论对译者的文学翻译事业给予了认可,肯定了译作的文学价值。该理论让译者从译作背后走出来,从"无形的"角色变为"有形的"。译者获得了与原作者和读者平等对话的权力,这为重新审视文学翻译的本质和任务以及译者主体性提供了一个新视角。一个认真负责的译者,主观上会努力追求尽可能百分之百地忠实原文,将原文信息还原于译作中,但客观上这是不可能实现的,译文与原文之间必定存在着差距,而这个差距注定了翻译中必然存在"创造性叛逆"。"创造性叛逆"理论承认了译文与原文之间不可消除的差异,关注的是翻译在译入语中的地位、传播、作用、影响、意义等问题,论证了翻译文学的性质和归属,使研究者的关注重心从源语文化转向译语文化。1990年,Howard Goldblatt(葛浩文)翻译白先勇的《孽子》并出版。葛浩文对原著进行了创造性地变通,为译文赢得了一大批英语读者。在中文原著里,白先勇使用了大量结构特殊的词(如叠词)和文化负载词(如成语)等,这也是该小说的最鲜明和最具代表性的特点之一。葛浩文在译文中翻译和重组这些词或词组,其方式可以充分体现出他的翻译思想、策略以及具体方法。因此,本文作者更多关注的是译者在词汇翻译上表现出来的创造性叛逆。本文通过对小说《孽子》与其英译本的对比分析,探索了译者对原文词汇翻译(主要为叠词、拟声词、称谓和俗语四个方面)过程中表现出的创造性叛逆(包括个性化翻译、节译和编译)。论文检验了创造性叛逆理论对于《孽子》英译本的解释力,证实了文学翻译过程中创造性叛逆出现的必然性和价值。研究发现,译者葛浩文在处理这些词语或词组时,灵活结合了意译、直译、音译、删减和增添等方法,创造出一个更为自然通顺的英译本。同时,通过分析《孽子》的翻译,本研究对中国文学英译过程中可采用的有效策略和方法进行了反思,对译者、原作者和原文本都提出了一定的看法与建议,希望为未来的文学翻译及研究提供一定的指导,为中国文学走出去有所启示。
[Abstract]:Translation is a way to exchange information between different cultures. In the process of translation, it is bound to be faced with linguistic and cultural differences, and when dealing with these cross-linguistic information, Inevitably there will be varying degrees of information loss, addition and distortion. In response to this, the French literary sociologist Eskapi put forward the theory of "creative treason". Translation is regarded as creative treason. Traditional translation studies regard translators as traitors, and their value is often denied. However, the theory of creative treason has recognized the translators' literary translation career. It affirms the literary value of the translation. This theory makes the translator come out from the "invisible" role to the "tangible" role. The translator gains the right to dialogue with the original author and the reader on an equal footing. This provides a new perspective for re-examining the nature and task of literary translation and the subjectivity of the translator. A conscientious and responsible translator will, subjectively, strive to be as faithful as possible to the original text and restore the original information to the translation. But objectively this is impossible to achieve, and there must be a gap between the target text and the original text, and this gap is bound to lead to the existence of "creative treason" in translation. The theory of "creative treason" acknowledges the indelible difference between the target text and the original text. Focusing on the status, communication, function, influence and meaning of translation in the target language, this paper demonstrates the nature and ownership of translation literature. In 1990, Howard Goldblattt translated and published Bai Xianyong's "son of evil". Bai Xianyong used a large number of words with special structure (such as reduplicates) and culture-loaded words (such as idioms) in the original Chinese works. This is also one of the most distinctive and representative features of the novel. In translating and reorganizing these words and phrases in the translation, the way in which he translates and reorganizes these words and phrases can fully reflect his translation thoughts, strategies and specific methods. The author pays more attention to the creative rebellion of the translator in lexical translation. Through the contrastive analysis of the novel "Nie Zi" and its English translation, the author explores the translator's translation of the original words (mainly repetition words, onomatopoeia words). There are four aspects of creative treason in the process of appellation and colloquial expressions (including individualized translation, economization and translation). This paper examines the explanatory power of the theory of creative treason in the English translation of Nie Zi. This paper proves the inevitability and value of the emergence of creative treason in literary translation. It is found that the translator, in dealing with these words or phrases, flexibly combines the methods of free translation, literal translation, transliteration, deletion and addition. At the same time, through the analysis of the translation of Nie Zi, the present study reflects on the effective strategies and methods that can be used in the process of translating Chinese literature into English. Both the original author and the original text have put forward certain views and suggestions, hoping to provide some guidance for future literary translation and research, and enlighten Chinese literature to go abroad.
【学位授予单位】：安徽大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：H315.9;I046

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