从接受美学角度研究《牡丹亭》的翻译
发布时间：2018-08-31 20:32
【摘要】：接受美学作为一种文学理论于20世纪60年代在德国兴起。作为一种对传统文学理论的挑战,它开始关注读者而不是作者。接受美学的双星,姚斯与伊瑟尔基于阐释学与现象学提出了一些重要的概念：视阈融合、期待视野、空白点与审美距离。接受美学是一种文学理论,关于是否能将其应用到翻译中来,于二十世纪九十年代初已有学者开始探讨接受美学理论与文学翻译结合起来的可行性。他们将接受美学理论中的一些概念如视阈融合,“空白点”等运用到翻译研究中来,强调了读者在译者翻译过程中的“参与”和“创造”作用。 作为中国古典戏剧中的“瑰宝”,《牡丹亭》中亦有大量的典故、谚语、历史人物、人名、地名以及诗词等。在翻译这些含义丰富的词句时,译者亦应充分考虑读者的接受能力,期待视野,审美等。该论文将接受美学理论与汪榕培的英译本《牡丹亭》结合进行研究,利用接受美学的四个重要概念：期待视野,视阈融合,空白点,审美距离从四个角度对译本进行分析。译文是否满足读者的期待视野,主要围绕修辞、典故、人名和地名的翻译三个层次进行分析；创造尽可能多的“重合点”以实现目标读者与文本的视阈融合则从语音、词汇、句法三个层面进行研究；对文本中的“空白点”的处理在翻译的过程中是保留还是“具体化”这是第三个方面；如何调整审美距离则注重从适应读者的语言习惯、文化习俗、审美三个层次展开分析。通过研究发现,译者在翻译过程中充分考虑了读者,并灵活使用多种翻译方法如音译、增译、省略以及意译和直译等来满足读者的接受能力。 该项研究总共包括六个部分：引言；文献综述；理论框架；接受美学理论与《牡丹亭》译本的结合；译者在翻译过程中采用的翻译方法；结论。引言部分指出了论文的研究背景,研究目的,研究问题,研究方法以及研究意义。文献综述部分首先探究了国内外接受美学在翻译研究方面的应用研究现状以及关于《牡丹亭》的翻译研究。接着指出先前研究的不足和此项研究的必要性。理论框架由三部分组成：对接受美学的简要介绍,接受美学的一些核心概念以及该理论对文学翻译研究方面的启发。在理论与文本的结合部分主要探讨了接受美学的思想从哪些方面体现在汪榕培的译本中。接下来分析译者在翻译中所采用的不同翻译方法来满足读者的接受能力。最后一部分结论对全文进行总结,包括研究的主要成果,意义,局限之处和建议。 通过用接受美学理论对汪榕培译本的分析,该项研究表明翻译虽是一个由译者完成的过程,但是一定程度上会受到目标语读者的影响并由读者参与其中。汪榕培在翻译《牡丹亭》时,亦充分考虑了目标读者。在接受美学理论的指导下,作者期望能够为中国古典文学尤其是戏剧翻译提供参考。
[Abstract]:Reception aesthetics, as a literary theory, rose in Germany in the 1960's. As a challenge to traditional literary theory, it focuses on readers rather than authors. On the basis of hermeneutics and phenomenology, the binary stars of receptive aesthetics, Yao and Iser, put forward some important concepts: the fusion of visual threshold, the horizon of expectation, the gap and the aesthetic distance. Reception aesthetics is a kind of literary theory. In the early 1990s, some scholars began to explore the feasibility of combining reception aesthetics theory with literary translation as to whether it can be applied to translation. They apply some of the concepts of receptive aesthetics, such as visual fusion and "blank spot", to translation studies, emphasizing the "participation" and "creation" of readers in the translator's translation process. As a treasure in Chinese classical drama, Peony Pavilion also contains a lot of allusions, proverbs, historical figures, names, place names and poems. In translating these rich words and expressions, the translator should also take full account of the reader's receptive ability, expectation vision, aesthetic appreciation and so on. This paper combines the reception aesthetics theory with Wang Rongpei's English translation Peony Pavilion and analyzes the translation from four angles: expectation vision, visual threshold fusion, blank spot and aesthetic distance. Whether the translation meets the expectations of the readers is mainly analyzed at the three levels of rhetoric, allusions, names and place names, while creating as many "coincidence points" as possible to realize the fusion of the target readers and the text from the perspective of pronunciation and vocabulary. The third aspect is whether the "blank spot" in the text is retained or "concretized" in the process of translation, and how to adjust the aesthetic distance from adapting to the readers' language habits and cultural customs. Three levels of aesthetic analysis. It is found that the translator takes the reader into full account in the process of translation and uses various translation methods such as transliteration, addition, ellipsis, free translation and literal translation to satisfy the reader's receptive ability. The study consists of six parts: introduction; literature review; theoretical framework; the combination of reception aesthetics theory and the translation of Peony Pavilion; the translation methods adopted by the translator in the translation process; and the conclusion. The introduction points out the research background, research purpose, research problems, research methods and research significance. In the part of literature review, the author first explores the present situation of the application of reception aesthetics in translation studies at home and abroad, as well as the translation studies on Peony Pavilion. Then it points out the deficiency of previous research and the necessity of this research. The theoretical framework consists of three parts: a brief introduction to reception aesthetics, some core concepts of reception aesthetics and its implications for literary translation studies. In the part of the combination of theory and text, the author mainly discusses which aspects of reception aesthetics are embodied in Wang Rongpei's translation. Then, the author analyzes the different translation methods adopted by the translator to satisfy the readers' receptivity. The last part summarizes the whole paper, including the main achievements, significance, limitations and suggestions. Through the analysis of Wang Rongpei's translation with the theory of reception aesthetics, the study shows that translation is a process completed by the translator, but to a certain extent, it will be influenced by the target language readers and the readers will participate in it. In translating Peony Pavilion, Wang Rongpei also fully considered the target readers. Under the guidance of the theory of reception aesthetics, the author hopes to provide reference for the translation of Chinese classical literature, especially drama.
【学位授予单位】：郑州大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：I046;H315.9
本文编号：2216081
[Abstract]:Reception aesthetics, as a literary theory, rose in Germany in the 1960's. As a challenge to traditional literary theory, it focuses on readers rather than authors. On the basis of hermeneutics and phenomenology, the binary stars of receptive aesthetics, Yao and Iser, put forward some important concepts: the fusion of visual threshold, the horizon of expectation, the gap and the aesthetic distance. Reception aesthetics is a kind of literary theory. In the early 1990s, some scholars began to explore the feasibility of combining reception aesthetics theory with literary translation as to whether it can be applied to translation. They apply some of the concepts of receptive aesthetics, such as visual fusion and "blank spot", to translation studies, emphasizing the "participation" and "creation" of readers in the translator's translation process. As a treasure in Chinese classical drama, Peony Pavilion also contains a lot of allusions, proverbs, historical figures, names, place names and poems. In translating these rich words and expressions, the translator should also take full account of the reader's receptive ability, expectation vision, aesthetic appreciation and so on. This paper combines the reception aesthetics theory with Wang Rongpei's English translation Peony Pavilion and analyzes the translation from four angles: expectation vision, visual threshold fusion, blank spot and aesthetic distance. Whether the translation meets the expectations of the readers is mainly analyzed at the three levels of rhetoric, allusions, names and place names, while creating as many "coincidence points" as possible to realize the fusion of the target readers and the text from the perspective of pronunciation and vocabulary. The third aspect is whether the "blank spot" in the text is retained or "concretized" in the process of translation, and how to adjust the aesthetic distance from adapting to the readers' language habits and cultural customs. Three levels of aesthetic analysis. It is found that the translator takes the reader into full account in the process of translation and uses various translation methods such as transliteration, addition, ellipsis, free translation and literal translation to satisfy the reader's receptive ability. The study consists of six parts: introduction; literature review; theoretical framework; the combination of reception aesthetics theory and the translation of Peony Pavilion; the translation methods adopted by the translator in the translation process; and the conclusion. The introduction points out the research background, research purpose, research problems, research methods and research significance. In the part of literature review, the author first explores the present situation of the application of reception aesthetics in translation studies at home and abroad, as well as the translation studies on Peony Pavilion. Then it points out the deficiency of previous research and the necessity of this research. The theoretical framework consists of three parts: a brief introduction to reception aesthetics, some core concepts of reception aesthetics and its implications for literary translation studies. In the part of the combination of theory and text, the author mainly discusses which aspects of reception aesthetics are embodied in Wang Rongpei's translation. Then, the author analyzes the different translation methods adopted by the translator to satisfy the readers' receptivity. The last part summarizes the whole paper, including the main achievements, significance, limitations and suggestions. Through the analysis of Wang Rongpei's translation with the theory of reception aesthetics, the study shows that translation is a process completed by the translator, but to a certain extent, it will be influenced by the target language readers and the readers will participate in it. In translating Peony Pavilion, Wang Rongpei also fully considered the target readers. Under the guidance of the theory of reception aesthetics, the author hopes to provide reference for the translation of Chinese classical literature, especially drama.
【学位授予单位】：郑州大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：I046;H315.9
【参考文献】
相关期刊论文 前9条
1 仝亚辉;接受美学对翻译研究的启示[J];福建外语;2002年03期
2 乔国强;;翻译与接受[J];山东外语教学;1988年Z1期
3 孙法理;评汪译《牡丹亭》[J];外语与外语教学;2001年12期
4 汪榕培;《牡丹亭》的英译及传播[J];外国语(上海外国语大学学报);1999年06期
5 秦洪武;论读者反应在翻译理论和翻译实践中的意义[J];外国语(上海外国语学院学报);1999年01期
6 张政;文化与翻译——读汪榕培《牡丹亭》英译本随想[J];西安外国语学院学报;2004年01期
7 马萧;文学翻译的接受美学观[J];中国翻译;2000年02期
8 许钧;作者、译者和读者的共鸣与视界融合——文本再创造的个案批评[J];中国翻译;2002年03期
9 胡开宝;胡世荣;;论接受理论对于翻译研究的解释力[J];中国翻译;2006年03期
，本文编号：2216081
本文链接：https://www.wllwen.com/wenyilunwen/wenxuell/2216081.html
