接受美学与中国古代诗歌意象翻译
发布时间：2018-08-31 07:31
【摘要】： 20世纪60年代以来，西方文论一直很活跃，不仅为文学研究，还为翻译研究提供了新的视角与方法，拓展了翻译研究的方向。在诸多西方翻译理论中，接受美学和翻译研究的关系最为紧密，将接受美学的主要概念和研究方法引入翻译，从读者的角度来探讨翻译研究的可行性与审美性，无疑是一种好方法。 姚斯是接受美学的主要创始人之一。他从“文学史悖论”入手，将读者研究提升到文学研究的中心地位。姚斯接受美学中最重要的一个概念是期待视野，他自己就把它称之为是最重要文章的“方法论顶梁柱”。姚斯后期的研究主要致力于对审美经验的研究。他的接受美学理论对于开拓翻译研究领域具有重要意义。 中国古诗是世界文学宝库中的一颗璀璨的明珠。这颗明珠在熠熠生辉的外表之下，蕴涵着深厚的中国文化，使之更加光艳夺目。如何翻译中国古诗，正确传达诗中的文化现象并使之容易被英语读者接受，成为中诗翻译家们所面临的问题。本文着重于中国古诗翻译的其中一个现象——意象翻译。意象不论是在中国悠久的文学历史中，还是在文化历史中，都占有极其重要的地位。意象是中国古诗中不可缺少的组成部分，是构成诗歌意境的砖石。意象是诗人感情、客观物体同社会历史背景的结合，，所以意象有着深深的中国古典文化的烙印。因此意象成为了中国悠久历史文化的载体。意象翻译是中国古诗翻译的一个过程，它的翻译效果直接影响了中诗翻译的整体效果。 在诸多翻译理论中，大多数忽视读者的接受，同时没有考虑到在翻译过程中，译者依据读者的接受来选用不同的翻译策略。而把接受美学引入翻译理论研究中，就充分体现了译者要根据译文读者的接受来灵活选择相应的翻译策略。 本文通过例子对中诗英译中意象翻译的方法进行归纳，同时用姚斯的接受美学理论进行解释。根据姚斯的接受美学，对不同的翻译策略进行分析，从译文读者的角度看在意象翻译过程中，不同翻译策略在意象意义传达上的效果。 通过姚斯接受美学中期待视野、视野融合以及读者作用等观点，重新描述了中国古诗中意象的翻译。在意象翻译中，翻译者应灵活运用各种翻译方法，在正确传达中国古诗意象中所蕴涵的深刻历史文化含义的同时，充分考虑英语读者的接受，以达到文化交流的目的。
[Abstract]:Since the 1960s, Western literary theory has been very active, not only for literary studies, but also for the study of translation provides a new perspective and methods, expanding the direction of translation studies. Among many western translation theories, reception aesthetics and translation studies are the most closely related. The main concepts and research methods of reception aesthetics are introduced into translation to explore the feasibility and aesthetics of translation studies from the perspective of readers. There is no doubt that it is a good way. Yao Si is one of the main founders of reception aesthetics. Starting with the Paradox of Literary History, he promoted the reader study to the central position of literary research. One of the most important concepts in Joss's receptive aesthetics is the perspective of expectation, which he himself calls the "methodological pillar" of the most important articles. The later study of Yao Si is mainly devoted to the study of aesthetic experience. His theory of reception aesthetics plays an important role in exploring the field of translation studies. Ancient Chinese poetry is a bright pearl in the treasure house of world literature. Beneath its gleaming appearance, the pearl contains profound Chinese culture, making it even more brilliant. How to translate ancient Chinese poetry, correctly convey the cultural phenomenon in poetry and make it acceptable to English readers has become a problem faced by Chinese poetry translators. This paper focuses on image translation, one of the phenomena in the translation of ancient Chinese poetry. Image plays an extremely important role in the long history of Chinese literature as well as in the history of culture. Image is an indispensable part of ancient Chinese poetry and a brick and stone that forms the artistic conception of poetry. Image is the poet's emotion, the combination of objective objects and social and historical background, so the image has a deep brand of Chinese classical culture. Therefore, the image has become the carrier of China's long history and culture. Image translation is a process of translation of ancient Chinese poetry, and its translation effect directly affects the overall effect of translation of Chinese poetry. In many translation theories, the reader's acceptance is neglected, and the translator chooses different translation strategies according to the reader's acceptance in the process of translation. The introduction of reception aesthetics into the study of translation theory fully reflects the translator's flexible choice of translation strategies according to the readers' acceptance. This paper sums up the methods of image translation in the translation of Chinese poetry from English to English, and explains it with Yao's theory of reception aesthetics. According to Yao's reception aesthetics, this paper analyzes different translation strategies, and looks at the effects of different translation strategies in the process of image translation from the perspective of the target readers. This paper redescribes the translation of images in ancient Chinese poetry from the perspectives of expectation vision, visual field fusion and reader's role in Yao's reception aesthetics. In image translation, translators should use various translation methods flexibly to correctly convey the profound historical and cultural implications contained in the image of ancient Chinese poetry, and at the same time fully consider the acceptance of English readers in order to achieve the purpose of cultural exchange.
【学位授予单位】：天津理工大学
【学位级别】：硕士
【学位授予年份】：2007
【分类号】：H315.9;I046
本文编号：2214311
[Abstract]:Since the 1960s, Western literary theory has been very active, not only for literary studies, but also for the study of translation provides a new perspective and methods, expanding the direction of translation studies. Among many western translation theories, reception aesthetics and translation studies are the most closely related. The main concepts and research methods of reception aesthetics are introduced into translation to explore the feasibility and aesthetics of translation studies from the perspective of readers. There is no doubt that it is a good way. Yao Si is one of the main founders of reception aesthetics. Starting with the Paradox of Literary History, he promoted the reader study to the central position of literary research. One of the most important concepts in Joss's receptive aesthetics is the perspective of expectation, which he himself calls the "methodological pillar" of the most important articles. The later study of Yao Si is mainly devoted to the study of aesthetic experience. His theory of reception aesthetics plays an important role in exploring the field of translation studies. Ancient Chinese poetry is a bright pearl in the treasure house of world literature. Beneath its gleaming appearance, the pearl contains profound Chinese culture, making it even more brilliant. How to translate ancient Chinese poetry, correctly convey the cultural phenomenon in poetry and make it acceptable to English readers has become a problem faced by Chinese poetry translators. This paper focuses on image translation, one of the phenomena in the translation of ancient Chinese poetry. Image plays an extremely important role in the long history of Chinese literature as well as in the history of culture. Image is an indispensable part of ancient Chinese poetry and a brick and stone that forms the artistic conception of poetry. Image is the poet's emotion, the combination of objective objects and social and historical background, so the image has a deep brand of Chinese classical culture. Therefore, the image has become the carrier of China's long history and culture. Image translation is a process of translation of ancient Chinese poetry, and its translation effect directly affects the overall effect of translation of Chinese poetry. In many translation theories, the reader's acceptance is neglected, and the translator chooses different translation strategies according to the reader's acceptance in the process of translation. The introduction of reception aesthetics into the study of translation theory fully reflects the translator's flexible choice of translation strategies according to the readers' acceptance. This paper sums up the methods of image translation in the translation of Chinese poetry from English to English, and explains it with Yao's theory of reception aesthetics. According to Yao's reception aesthetics, this paper analyzes different translation strategies, and looks at the effects of different translation strategies in the process of image translation from the perspective of the target readers. This paper redescribes the translation of images in ancient Chinese poetry from the perspectives of expectation vision, visual field fusion and reader's role in Yao's reception aesthetics. In image translation, translators should use various translation methods flexibly to correctly convey the profound historical and cultural implications contained in the image of ancient Chinese poetry, and at the same time fully consider the acceptance of English readers in order to achieve the purpose of cultural exchange.
【学位授予单位】：天津理工大学
【学位级别】：硕士
【学位授予年份】：2007
【分类号】：H315.9;I046
【引证文献】
相关硕士学位论文 前1条
1 杜文;汉语古诗意象组合英译中最佳关联性的传递[D];湘潭大学;2008年
本文编号：2214311
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