《黑暗的心》中的陌生化及翻译研究

发布时间：2018-05-12 07:36

本文选题：文学翻译 + 陌生化　；参考：《华中师范大学》2014年硕士论文

【摘要】：文学翻译区别于其他翻译的主要特征就在于文学作品有文学性。俄国形式主义认为,文学性就是使特定文本成为文学作品的东西。没有了文学性,文学也就不称其为文学了。所以在翻译文学作品时要尤其注意文学性的翻译。俄国形式主义学派代表人物什克洛夫斯基提出了著名的陌生化概念,他认为正是文学作品中新颖,奇特的陌生化表达方式成就了文学的文学性,也就是文学的形式。然而在翻译界长久以来占主导地位的是重内容而轻形式的翻译,忽视了形式的重要性,只专注于有效转达原作的意义。近年来,有不少学者,翻译家意识到了形式的重要性,开始慢慢倡导注意形式的翻译,保留原作的陌生化。俄国形式主义认为陌生化就是将熟悉的东西变陌生,使人们感到新奇和陌生,以此来对抗日常生活中因习惯养成的自动化感知过程。这种理论运用到翻译中就是指译者在翻译时要保留原文的陌生化手法和异域特色,带给读者们新鲜感。除了常见的异化能达到陌生化的效果外,翻译中达到陌生化的手段还有再创作。因为人的认知活动有疲倦期,所以一味的异化也是不能让读者感到新奇的。本文以著名作家康拉德的代表作《黑暗的心》的三个中译本(分别为孙礼中,黄雨石,智量的译本)为研究对象,从翻译的陌生化理论出发,从词汇层面,句法层面,修辞层面和文化层面分析三部译作,三位译者是否在翻译中注意到了陌生化手法的运用,他们采取了什么样的翻译方法以及达到了什么样的翻译效果。《黑暗的心》是波兰籍英国著名作家约瑟夫·康拉德的代表作之一。作为现代主义的代表作,《黑暗的心》以其独特的叙事结构,巧妙的情节安排,韵意丰富的修辞手法等等而闻名,具有很高的文学艺术成就。该文不论是在题材上,叙事上,结构上,还是措辞上都具有很强的陌生化特点,给人新奇的阅读体验。三位译家的译作各有千秋,从不同的方面运用不同的手段达到了一定的陌生化效果。综合来讲,孙礼中的译本更自由化,较多改动,强调通顺流畅,减轻读者阅读障碍,很大程度上削减了陌生化的效果；智量的译本不论在内容还是形式上都非常忠实于原文,较好的保留了原文的写作特色和陌生化效果；而黄雨石的翻译则两者兼而有之,即有创造性的改动又有一定的忠实,灵活多变,抓住读者的注意力,发挥高超的语言运用能力创造性的展现了陌生化效果。从陌生化的角度来看,黄雨石的译本阐释的更好一些。本文通过探讨《黑暗的心》中译本中陌生化翻译手法的实际应用和效果,旨在引起更多译者对陌生化翻译手法的重视,使陌生化翻译手法得到更全面更系统的发展。
[Abstract]:The main characteristic of literary translation differs from other translation is the literariness of literary works. Russian formalism holds that literariness is something that makes a particular text a literary work. Without literariness, literature will not be called literature. Therefore, we should pay special attention to literary translation when translating literary works. The representative figure of Russian formalism school, Shklovsky, put forward the famous concept of defamiliarization. He believed that it was the novel and strange ways of expressing strangeness in literary works that made literature literariness, that is, the form of literature. However, translation has long dominated by emphasizing content rather than form, neglecting the importance of form and focusing only on effectively conveying the meaning of the original work. In recent years, many scholars and translators have realized the importance of form and started to pay attention to the translation of form and keep the strangeness of the original. Russian formalism holds that strangeness is to make people feel strange and strange by changing familiar things into strangers in order to counter the automatic perception process formed by habit in daily life. The application of this theory to translation means that the translator should keep the strangeness and exotic features of the original text and bring the readers a fresh feeling. In addition to the common alienation can achieve the effect of defamiliarization, translation means to achieve defamiliarization and re-creation. Because human cognition activity has tiredness period, so blindly dissimilation also cannot let the reader feel strange. This paper takes three Chinese versions of Conrad's masterpiece Heart of Darkness (Sun Lizhong, Huang Rushi and Zhi Quang's versions) as the object of study, starting from the theory of defamiliarization of translation, from the lexical level and syntactic level. The rhetorical and cultural aspects of the three translations are analyzed, and whether the three translators have paid attention to the use of strangeness in the translation? What translation methods have they adopted and what translation effects have they achieved? heart of Darkness is one of the masterpieces of the famous Polish writer Joseph Conrad. As the masterpiece of modernism, Heart of Darkness is famous for its unique narrative structure, ingenious plot arrangement, rich rhetorical devices and so on. This article has strong defamiliarization characteristics in subject matter, narrative, structure and wording, giving people a novel reading experience. The three translators have their own merits and different ways to achieve a certain degree of strangeness. On the whole, Sun Lizhong's version was more liberalized, more modified, emphasized smoothness and fluency, lightened the reader's reading barrier, and greatly reduced the effect of strangeness. The version of the intellectual quantity was very faithful to the original text, both in content and in form. The writing features and strangeness of the original text are better preserved, while the translation of Huang Yu-shi has both, that is, creative changes and some faithfulness, flexibility and variety, which can catch the attention of the readers. The unfamiliarization effect is displayed creatively by exerting the superb language ability. From the angle of defamiliarization, the translation of Huang Rain Stone is better explained. By discussing the practical application and effect of defamiliarization techniques in the Chinese version of Heart of Darkness, this paper aims to attract more translators to attach importance to them and to develop them more comprehensively and systematically.
【学位授予单位】：华中师范大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：H315.9;I046

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