影视翻译中译者的主体性研究

发布时间：2018-04-26 09:50

本文选题：影视翻译 + 译者主体性　；参考：《华中师范大学》2012年硕士论文

【摘要】：译者是翻译的主体,在翻译过程中无论译者怎样追求客观也难逃自身的“主体性”经验。译者的主体性包含三个方面：能动性,受动性和为我性。哲学阐释学、权利话语和目的论分别为这三个方面提供了理论基础。从哲学阐释学的角度说,主体经验是人类认知世界的必由之路。人类的各种认知,包括对数理、科学和文学等等的理解都建立在由个体经验汇成的主体性经验之上。这就为译者发挥主观能动性提供了基础。从话语理论的角度来说,译者在翻译时要受到原文语言、读者要求和译者所处的历史文化背景的制约,这就是译者受动性的主要内容。从目的论的角度说,译者的能动性和受动性是矛盾的两个方面,偏重任何一方都不妥。平抑两者矛盾的标准就是译者的为我性。影视翻译有其鲜明的特征,这是因为影视欣赏首先是一个读图的过程而非语言输入的过程。镜头语言作为影视语言重要的组成部分以其直观性而成为了某种意义上的“世界语”,这就是人类认知具有共通性的例证,也是影视翻译中译者发挥主观能动性的先决条件和重要保障。可译性是翻译中另一个重要的哲学问题：从哲学的角度来看,100%的翻译,即绝对的翻译根本就不存在,所谓可译性就是无限接近绝对翻译即实现相对翻译的可能性。在影视翻译中,有了图像作保障,合理发挥译者的主观能动性有可能使译文所表达的内容和承载的文化信息更贴近原文的内容和信息。在影视翻译中,创造性叛逆是发挥主观能动性的重要表现形式,也是一种有效的翻译策略。探讨影视翻译中译者的主体性也不能局限于分析其主观能动性,还必须考虑译者的受动性。影视翻译究其实质仍是文本的翻译,因此译者必须尊重原文的话语权；与此同时,译者也要考虑观众的期待和要求；此外,译者同样还会受到其所处历史文化背景的影响。在影视翻译中译者何时选择能动性和受动性同样取决于译者的为我性。从总体上说,影视翻译的最终目的是丰富本民族的文化生活；有时出发于某种特殊目的,译者甚至会考虑采用“改编”和“重写”的策略,这些策略究竟是能动性还是受动性的体现也还是取决于翻译的日的。因此,影视翻译中译者主体性同样涉及能动性、受动性和为我性三个方而,它们三者的关系直接影响到影视翻译中具体策略的选择。
[Abstract]:The translator is the subject of translation, no matter how the translator pursues objectivity, he can not escape his own subjective experience. The translator's subjectivity includes three aspects: initiative, passivity and ego. Philosophical hermeneutics, discourse of right and teleology provide theoretical basis for these three aspects. From the perspective of philosophical hermeneutics, subject experience is the only way for human beings to understand the world. Human cognition, including mathematics, science and literature, is based on subjective experience. This provides the basis for the translator to exert his initiative. From the perspective of discourse theory, the translator is restricted by the language of the original text, the requirements of the reader and the historical and cultural background of the translator, which is the main content of the translator's movability. From the perspective of Skopos theory, the translator's initiative and passivity are two aspects of contradiction. The criterion of suppressing the contradiction between the two is the translator's ego. Film and TV translation has its distinctive characteristics, because film and television appreciation is first a process of reading pictures, not a process of language input. As an important part of film and television language, lens language has become "Esperanto" in a certain sense because of its intuitiveness, which is an example of the common nature of human cognition. It is also a prerequisite and an important guarantee for the translator to play his subjective role in film and television translation. Translatability is another important philosophical problem in translation: from a philosophical point of view, 100% translation, that is, absolute translation, does not exist. Translatability is infinitely close to absolute translation, that is, the possibility of realizing relative translation. In film and television translation, with the help of images, it is possible to give full play to the subjective initiative of the translator and make the content and cultural information expressed in the translation more closely to the content and information of the original text. In film and television translation, creative treason is not only an important manifestation of subjective initiative, but also an effective translation strategy. To explore the translator's subjectivity in film and television translation is not limited to the analysis of his subjective initiative, but also must consider the translator's movability. The essence of film and television translation is still the translation of the text, so the translator must respect the right to speak in the original text; at the same time, the translator should also consider the expectations and demands of the audience. In addition, the translator will also be influenced by his historical and cultural background. The translator's choice of initiative and passivity in film and television translation also depends on the translator's selfishness. Generally speaking, the ultimate aim of film and television translation is to enrich the cultural life of the people. Sometimes the translator even considers the strategies of "adaptation" and "rewriting" for a particular purpose. Whether these strategies are dynamic or reactive also depends on the day of translation. Therefore, the translator's subjectivity in film and television translation also involves three aspects: initiative, passivity and ego, and their relationship directly influences the choice of specific strategies in film and television translation.
【学位授予单位】：华中师范大学
【学位级别】：硕士
【学位授予年份】：2012
【分类号】：H059

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