《黑奴吁天录》的语言模糊美

发布时间：2018-06-12 14:33

本文选题：模糊 + 模糊美　；参考：《长沙理工大学》2008年硕士论文

【摘要】： 模糊是语言的基本特征之一。人们经常使用许多模糊概念和表达模糊概念的词语来传情达意。语言中的模糊现象开始越来越受到人们的重视。自上世纪六七十年代诞生至今,模糊语言蓬勃发展。模糊性是文学语言特别是中国古典文学语言的一种自然属性,模糊美充分体现其中。模糊美是美学领域中一个年轻的分支,取得的研究成果并不多。国外对模糊语言的研究主要侧重语义,较少涉及其美学效果。对模糊语言美学特质认识最深的算是法国汉学家葛兰言(Granet),他认为汉语是特别为描绘而造的,是一种可以抒发特别情感的语言。汉语区别于西方印欧语系语言的根本之处在于模糊性。对汉语模糊性的美学特质,除了若干汉学家发表了比较经典的评述之外,缺乏基本研究。在讨论汉籍英译时,往往肤浅地将汉语模糊美感归结到翻译技术上,而不是着眼英汉的本质之异。模糊美具有独特的审美价值。翻译不仅是语言的转换,还是思维的变换,文化和审美的综合展现。模糊美对于文学翻译可以创造意境的含蓄美、情感的韵味美。模糊美具有不确定性、整体性和互渗性三个特点。模糊幽而不墨,亮而不透,富于含隐之美,玄妙之美。翻译过程中模糊美的加入,既能调动了审美主体,又能扩大审美客体。模糊语言充分利用语言的启发性和暗示性,唤起读者的联想与想象,从而领会其中之深意,体味言外隽永深长之情趣,以有效填补“表意而不能尽意”之憾。那些深刻的道理、复杂的感情以及一切难于用语言直接表达的东西,通过模糊含蓄的方法翻译就可以获得言有尽而意无穷的效果。接受美学所看重的作品接受者即审美主体的主观能动性,认为作品本身存在的不确定性和意义空白给接受者留下了思维的、心理的活动空间。模糊期待读者去补充其意义的空白,期待读者去清晰赋予其现实的生命,较之精确语言具有更多的暗示性、蕴含性、简洁性等,模糊美扩大了艺术空间,给读者留以对美的无限遐想空间。除了主观色彩较浓的接受美学理论,更具科学特色的格式塔心理学原则可以说为模糊美找到了心理学依据。模糊语言的运用为读者搭建运用了自己的想像力和审美力的平台,使用“不完满”、“空缺”闭合,使作品的意蕴得到最大发挥,使翻译的效果得到了充分发挥。模糊美在翻译中的价值和效应的研究也变得越来越显著。基于此,本文首先探讨了模糊语言现象及分类,模糊美的三个特点,模糊与精确之间的四种转换。在多视角理论(包括接受美学和格式塔心理学)观照下深入理解模糊美。Uncle Tom’s Cabin是美国女作家斯托夫人的一部描写美国农场主虐待黑奴的小说,由林纾和魏易翻译。本文对Uncle Tom’s Cabin及林纾译作《黑奴吁天录》进行分析论述,探讨语言模糊美在文中无论是在语言、还是文化方面的体现及功用。本文共分四章。第一章总述模糊语言的发展情况及对Uncle Tom’s Cabin与译本的介绍。第二章讲述翻译美学中模糊语言的分类及模糊美的特点。第三章探讨文学翻译中模糊与精确的处理。第四章基于上述理论基础,在语言、文化方面对模糊美在林纾译作《黑奴吁天录》的体现进行论述。
[Abstract]:Fuzziness is one of the basic features of language. People often use many fuzzy concepts and words that express fuzzy concepts to convey their feelings. The fuzziness in language has begun to get more and more attention. Since the birth of the last century in the 60s and 70s, the fuzzy language has flourished. The fuzziness is the literary language, especially the Chinese classical literary language. One of the natural attributes of speech is the beauty of fuzziness.
Fuzzy beauty is a young branch in the field of aesthetics, and there are not many achievements in the research. Foreign research on fuzzy language mainly focuses on the semantic and less aesthetic effects. The most profound understanding of the aesthetic characteristics of fuzzy language is the French Sinologist Ge Lanyan (Granet). He recognizes that Chinese is specially painted and can be expressed. The fundamental difference between Chinese and Western Indo European languages lies in fuzziness. The aesthetic characteristics of Chinese vagueness, in addition to some classical commentary, are lacking in basic research. It is the essence of English and Chinese.
Fuzzy beauty has unique aesthetic value. Translation is not only the transformation of language, but also the transformation of thinking, culture and aesthetics. Fuzzy beauty can create the implicit beauty of artistic conception and the beauty of emotion for literary translation. Fuzzy beauty has three characteristics of uncertainty, integrity and interpermeability. Fuzzy and inink, bright and impermeable, rich The introduction of fuzzy beauty in the process of translation can not only arouse the aesthetic subject but also expand the aesthetic object. The vague language makes full use of the inspiration and hint of the language, arouses the reader's Association and imagination, thus appreciates the profound meaning of the language, and tastes the interesting and profound meaning of the words, so as to fill the "ideographic but not the best" The profound reason, the complex emotion, and all the things which are difficult to express directly in language, can be translated by vague and implicit methods to achieve the best effect. The acceptor of the aesthetic subject, the subjective initiative of the aesthetic subject, considers the uncertainty and significance of the work itself. The blank left the recipient with the mind, the mental activity space. It expects the reader to supplement the blank of its meaning, and expects the reader to give its real life clearly, and more implicit, implicative, succinct, and so on. The psychological principle of Gestalt, which is more scientific and subjective, can be described as a psychological basis for fuzzy beauty. The use of fuzzy language used to build a platform for readers to use their imagination and aesthetic power, and the use of "incomplete" and "vacancy" closed, so that the meaning of the works can be maximized. The effect of translation has been brought into full play.
The study of the value and effect of fuzzy beauty in translation is becoming more and more significant. Based on this, this paper first discusses the three characteristics of fuzzy language phenomenon and classification, the three characteristics of fuzzy beauty, four kinds of transformation between fuzzy and precision, and a deep understanding of fuzzy beauty Tom 's C under the view of multi view theory (including reception aesthetics and Gestalt theory) Abin is a novel written by American female writer Stowe in describing the abuses of black slaves by American farmers. It is translated by Lin Shu and Wei Yi. This article analyses Uncle Tom 's Cabin and Lin Shu's translation of black slave Tian Lu, and discusses the expression and function of language fuzzy beauty in language and Literature.
This article is divided into four chapters. Chapter 1 describes the development of fuzzy language and the introduction to Uncle Tom 's Cabin and translation. The second chapter describes the classification of fuzzy language and the characteristics of fuzzy beauty in translation aesthetics. The third chapter discusses the fuzzy and precise treatment of literary translation. The fourth chapter is based on the above theoretical basis, and is vague in language and culture. The beauty is reflected in Lin Shu's translation of "black slave Xu Tian Lu".
【学位授予单位】：长沙理工大学
【学位级别】：硕士
【学位授予年份】：2008
【分类号】：H059;I046

【引证文献】