接受美学视角下的中国小小说英译

发布时间：2018-06-25 01:01

本文选题：中国小小说 + 接受美学　；参考：《江西师范大学》2014年硕士论文

【摘要】：微型小说也称小小说，是小说大家族的成员之一，崛起于20世纪80年代。如今微型小说已经稳稳地立于当今文坛，其发展速度之快，文学成就之高令人瞩目。受篇幅和文体特征的影响，微型小说善用精短的手法展现人物和情节，讲究“速率审美刺激”。其语言简练精巧，在有限的篇幅内加大了语言的信息量，增强了语言的表现力。在故事结构的架构上小小说更是讲究留白的艺术，通过省略、设疑等手法拓展了读者的想象空间，激发了读者在阅读过程中的主体作用。然而作为一种独立的文学形式，以其作为语料进行的英译研究却少之甚少。 20世纪60年代，大批文学批评流派和文学理论异军突起，争放异彩。在这股涌动的思潮中接受美学悄然诞生，它的出现打破了文本中心论封闭的语言系统，实现了由文本中心向读者中心的转移。接受美学主要阐述了读者的定义，文本意义的未定性，文本的概念，并从美学的角度对文本和读者之间的交互作用进行了独创性的分析。接受美学认为，文本具有一定的开放性，文学作品的意义并不直接存在于文化背景中的作者的意图或文本本身，而在于在读者与文本的互动中产生的意义。所以它强调将读者至于文学活动中不可忽视的地位，将研究的注意力从作者—文本转向文本—读者。其理论的根本特征就是把读者至于文学理论、美学研究的中心。本文重点是运用接受美学理论，从“期待视野”、“召唤结构”和“隐含读者”三个概念出发，结合深受国内外好评的小小说及其英译本的实例分析，探索接受美学对小小说汉英翻译的启示。从期待视野的概念来看，对小小说中富有文化色彩词语翻译不能只局限于对文字层面的转换。小小说文本意义的最终实现必须是以译者对读者文化心理的迎合为前提的。从召唤结构概念来看，小小说文本在语言表达和结构设置上的空白体现了其较高的文学性，也赋予译者对原文进行创造性填补的权利。但忽略读者的接受水平，过分填补和过度留白都会使小小说的召唤性大打折扣。翻译的过程是译者理解文本和阐释文本的过程，小小说讲究留白的文学特性也为译者的阐释提供了较为广阔的空间，但这种阐释并不是随心所欲毫无限制的，其译文在很大程度上必定是取决于原文并且忠实于原文的。该研究对小小说的翻译实践有所启示，拓宽了接受美学研究的范围，是一种有意义的尝试。
[Abstract]:Mini-fiction, also known as Xiao Shuo, is a member of the novel family, rising in the 1980 s. Nowadays, mini-fiction has been firmly established in the literary world, and its speed of development and literary achievements are remarkable. Influenced by space and stylistic features, miniature novels make good use of short techniques to show characters and plots, and pay attention to "speed aesthetic stimulation". Its language is concise and exquisite, and it increases the amount of information and the expression of language in a limited space. In the structure of the story structure, the small theory pays more attention to the art of leaving a white space. By means of ellipsis and doubt, it expands the imagination space of the reader and inspires the reader to play a major role in the process of reading. However, as an independent literary form, there is very little research on English translation with it as a corpus. In the 1960s, a large number of literary criticism schools and literary theories sprang up, competing for splendor. In this surging trend of thought reception aesthetics was born quietly which broke the closed language system of text-centered theory and realized the shift from text-centered to reader-centered. Reception aesthetics mainly expounds the definition of readers, the uncertainty of text meaning, the concept of text, and analyzes the interaction between text and readers from the perspective of aesthetics. The receptive aesthetics holds that the text is open to a certain extent, and the meaning of the literary works does not directly exist in the author's intention or the text itself in the cultural background, but lies in the meaning produced in the interaction between the reader and the text. Therefore, it emphasizes that readers should not be neglected in literary activities, and turns the attention of research from author-text to text-reader. The fundamental characteristic of its theory is that the reader is the center of literary theory and aesthetic research. The emphasis of this paper is to apply the theory of reception aesthetics, starting from the three concepts of "horizon of expectation", "summoning structure" and "implied reader", and combining the well-received small theories and their English translations with examples, which are well received both at home and abroad. Exploring the implications of reception Aesthetics for Chinese-English Translation of Xiao Shuo. From the perspective of expectation, the translation of culturally-colored words and expressions in small stories cannot be confined to the translation of words at the level of words. The ultimate realization of the meaning of Xiao-Shuo text must be based on the translator's pandering to the readers' cultural psychology. From the perspective of the concept of summoning structure, the blanks in the linguistic expression and structural setting of the Xiao-Shuo text embody its high literary quality and give the translator the right to fill in the original text creatively. But ignoring the reader's acceptance level, overfilling and overblanking can make small claims less appealing. The process of translation is the process of the translator's understanding of the text and the interpretation of the text. The literary characteristics of the small theory and the white space also provide a broad space for the translator's interpretation, but this kind of interpretation is not unlimited. To a great extent, the translation must depend on the original text and be faithful to the original text. It is a meaningful attempt to broaden the scope of the study of reception aesthetics.
【学位授予单位】：江西师范大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：H315.9;I046

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