接受美学视角下《河岸》翻译策略的研究
发布时间：2018-10-09 14:54
【摘要】：作为在中国当代著名作家,苏童是“先锋派”作家代表人物之一。苏童的小说细节描写生动,富有想象力,题材广泛。《河岸》无疑是苏童对于历史叙事小说的想象突破。《河岸》以文化大革命历史为背景,通过叙述库文轩父子所遭受的变故,描写他们在此过程中的思想状态,继而挖掘“历史”,体现出作者对政治历史的深度反思及其对人性的深刻思考。在2009年,葛浩文将其小说《河岸》译为英文并出版,引起西方汉学家的广泛关注。葛浩文是中国文学翻译家和汉学家。他翻译了50多部中国著名作家的作品,比如:莫言、萧红、苏童等等。葛浩文凭借着他卓越的翻译成果,荣获了美国国家翻译奖、美国古根海姆奖等殊荣。由于葛浩文个人的经历,他能够熟练掌握中、英两种语言,这使得他能够在英译工作中,做到游刃有余。接受美学理论是由二十世纪六十年代姚斯(Hans Robert Jauss)和伊瑟尔(Wolfgang Iser)提出的,后来被应用到翻译领域。与传统翻译理论相比,接受美学理论将作品置于动态环境中进行考察,在充分尊重原著的内容和时代背景上,既考虑到译者的“视野”和文化背景,也注意到目标语读者的重要作用认为在作品和读者之间的关系中,读者应该是翻译过程中积极主动的一部分,同时强调在翻译过程中应该着重强调读者的回应,在翻译作品前,译者首先是一位读者,他需要以自身的接受和欣赏能力对原作品进行充分的理解和感悟。然后再将原作品翻译成目标语读者能接受的目标语译本。在这一点上,葛浩文的翻译策略与接受美学理论都不约而同地将读者放在了首位。葛浩文的翻译策略充分体现在苏童的作品《河岸》的英译本之中。首先他尊重原文中的历史、文化背景,在此基础之上,充分考虑到读者的接受能力和文化背景,采用直译与意译的翻译策略进行翻译;其次,在翻译的过程中,为了协调原文与目标语读者的平衡点,葛浩文通过对原文适当地添加和删减,对原文进行改写,以探求出一种方法来平衡原作品、原文作者、译本和目标语读者的关系。本文作者以接受美学理论为理论支撑,以《河岸》英译本为例,从对比原作品与译本中的明喻、暗喻、典故和文化负载词等几个方面入手分析在接受美学理论指导下,译者如何在翻译过程中,通过所采用的翻译策略充分把握苏童及其作品的艺术魅力和文化内涵,促进不同文化背景的文学作品之间进行跨文化交际实践活动。本论文通过个案研究和描述性研究,得出结论:翻译者只有考虑到读者的期待视野、接受水平和文化特点,才能完整地将原著中的文化和人物形象原汁原味地传递给目标语读者。其次,在文化翻译过程中,译者可以拥有更多的主动权,即通过直译、意译,甚至通过适当地增加或者减少原文内容进行改写。本论文只是个人的浅显研究,谨希望能够为中国文学作品的英译工作提供一点点借鉴性意见和参考。
[Abstract]:As a famous contemporary writer in China, Su Tong is one of the representative figures of avant-garde writers. Su Tong's novels are vividly described in detail, imaginative, and have a wide range of subjects. Riverside is without doubt a breakthrough in the imagination of historical narrative novels by Su Tong. Taking the Historical background of the Cultural Revolution as the background, Riverside describes the changes suffered by Kuwen Xuan's father and son. The author describes their ideological state in the process, and then excavates "history", which reflects the author's deep reflection on political history and his deep reflection on human nature. In 2009, he translated his novel Riverside into English and published it, which attracted the attention of western sinologists. GE Haowen is a translator and sinologist of Chinese literature. He translated more than 50 works of famous Chinese writers, such as Mo Yan, Xiao Hong, Su Tong and so on. With his outstanding translation achievements, he won the National Translation Award and Guggenheim Award. As a result of his personal experience, he was able to master both Chinese and English, which enabled him to do a good job in translating English. The theory of reception aesthetics was put forward by (Hans Robert Jauss) and Iser (Wolfgang Iser) in 1960's and applied to the field of translation. Compared with the traditional translation theory, the reception aesthetics theory examines the work in a dynamic environment, which takes into account the translator's "vision" and cultural background, while fully respecting the content of the original work and the background of the times. We also note the important role of the target readers that the reader should be a proactive part of the translation process in the relationship between the work and the reader, and that the reader's response should be emphasized in the process of translation, before the translation of the work. First of all, the translator is a reader. He needs to understand and understand the original work with his own ability of receiving and appreciating. Then the original works are translated into the target language which the target readers can accept. In this respect, the translation strategy and the reception aesthetics theory of Gehhot put the reader in the first place. The translation strategy of GE Haowen is fully embodied in the English translation of Su Tong's works Riverside. First of all, he respects the historical and cultural background of the original text, on the basis of which he takes fully into account the readers' receptive ability and cultural background, and adopts the translation strategies of literal and free translation; secondly, in the process of translation, he adopts the translation strategy of literal translation and free translation. In order to coordinate the balance between the original text and the target language readers, the author rewrites the original text by adding and subtracting the original text appropriately, so as to find a way to balance the relationship between the original work, the original author, the translation and the target language reader. With the theory of reception aesthetics as the theoretical support and the English version of Riverside as an example, the author begins with the comparison between the original works and the original works in terms of similes, metaphors, allusions and culture-loaded words. In the process of translation, the translator can fully grasp the artistic charm and cultural connotation of Su Tong and his works, and promote cross-cultural communication between literary works with different cultural backgrounds. Through case studies and descriptive studies, this thesis concludes that the translator can only take into account the readers' expectations, reception level and cultural characteristics. Only in this way can the culture and characters in the original book be transmitted to the target language readers. Secondly, in the process of cultural translation, the translator can have more initiative, that is, through literal translation, free translation, or even by adding or reducing the content of the original text. This thesis is only a personal study and I hope to provide some useful suggestions and references for the translation of Chinese literary works into English.
【学位授予单位】：吉林大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：H315.9;I046
本文编号：2259749
[Abstract]:As a famous contemporary writer in China, Su Tong is one of the representative figures of avant-garde writers. Su Tong's novels are vividly described in detail, imaginative, and have a wide range of subjects. Riverside is without doubt a breakthrough in the imagination of historical narrative novels by Su Tong. Taking the Historical background of the Cultural Revolution as the background, Riverside describes the changes suffered by Kuwen Xuan's father and son. The author describes their ideological state in the process, and then excavates "history", which reflects the author's deep reflection on political history and his deep reflection on human nature. In 2009, he translated his novel Riverside into English and published it, which attracted the attention of western sinologists. GE Haowen is a translator and sinologist of Chinese literature. He translated more than 50 works of famous Chinese writers, such as Mo Yan, Xiao Hong, Su Tong and so on. With his outstanding translation achievements, he won the National Translation Award and Guggenheim Award. As a result of his personal experience, he was able to master both Chinese and English, which enabled him to do a good job in translating English. The theory of reception aesthetics was put forward by (Hans Robert Jauss) and Iser (Wolfgang Iser) in 1960's and applied to the field of translation. Compared with the traditional translation theory, the reception aesthetics theory examines the work in a dynamic environment, which takes into account the translator's "vision" and cultural background, while fully respecting the content of the original work and the background of the times. We also note the important role of the target readers that the reader should be a proactive part of the translation process in the relationship between the work and the reader, and that the reader's response should be emphasized in the process of translation, before the translation of the work. First of all, the translator is a reader. He needs to understand and understand the original work with his own ability of receiving and appreciating. Then the original works are translated into the target language which the target readers can accept. In this respect, the translation strategy and the reception aesthetics theory of Gehhot put the reader in the first place. The translation strategy of GE Haowen is fully embodied in the English translation of Su Tong's works Riverside. First of all, he respects the historical and cultural background of the original text, on the basis of which he takes fully into account the readers' receptive ability and cultural background, and adopts the translation strategies of literal and free translation; secondly, in the process of translation, he adopts the translation strategy of literal translation and free translation. In order to coordinate the balance between the original text and the target language readers, the author rewrites the original text by adding and subtracting the original text appropriately, so as to find a way to balance the relationship between the original work, the original author, the translation and the target language reader. With the theory of reception aesthetics as the theoretical support and the English version of Riverside as an example, the author begins with the comparison between the original works and the original works in terms of similes, metaphors, allusions and culture-loaded words. In the process of translation, the translator can fully grasp the artistic charm and cultural connotation of Su Tong and his works, and promote cross-cultural communication between literary works with different cultural backgrounds. Through case studies and descriptive studies, this thesis concludes that the translator can only take into account the readers' expectations, reception level and cultural characteristics. Only in this way can the culture and characters in the original book be transmitted to the target language readers. Secondly, in the process of cultural translation, the translator can have more initiative, that is, through literal translation, free translation, or even by adding or reducing the content of the original text. This thesis is only a personal study and I hope to provide some useful suggestions and references for the translation of Chinese literary works into English.
【学位授予单位】：吉林大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：H315.9;I046
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