《喜福会》翻译中的译者主体性
发布时间：2018-09-08 10:34
【摘要】： 本文关注美国华裔文学作品《喜福会》中文翻译中译者主体性的体现。译者主体性经历了从忽视到逐步重视的过程。译者从“忠实”到体现“主体性”的这一地位转变为文学翻译评论提供了全新视角。20世纪80年代末90年代初,美国华裔文学逐渐得到了中美两国学术界的广泛关注,由于其作品涉及的主题以及此类作品的作者所具有的特殊生活背景,读者在阅读此类译著的过程中,不仅体会到了不同民族之间、文化之间存在的人类相通的共性,也通过华裔作家的笔触感受到了中美文化和价值观的冲突与交融。因此,美国华裔文学的翻译在一定程度上也是文化翻译。作为文学翻译中连接原作与译作、原作作者与译作读者的译者在这种文化翻译中的主体性不可避免。 《喜福会》是华裔作家谭恩美的代表作品,讲述了四位中国移民母亲与她们在美国出生的女儿从误解、冲突到理解的故事,作品通过母女的冲突折射了中美文化的冲突。小说在1989年出版之时在美国获得巨大成功。在中国内地,1992年春风文艺出版社出版了田青翻译的《喜福会》,2006年上海译文出版社邀请作家程乃珊翻译出版了最新版本的《喜福会》。 本文通过对1992、2006年两个译本的对比研究,援引大量译例,从翻译方法层面、文化还原层面、翻译策略层面分析《喜福会》翻译中译者主体性的体现。具体包含标题翻译,人名翻译,拼音内容的翻译,对话内容的翻译,中国文化内容的翻译、增译、减译、改译等内容。并对两个译本中的误译进行分析,强调文学翻译中译者主体性和忠实性的统一是译者不可回避的问题,译者主体性的客观存在和忠实的标准并不矛盾,译者主体性的发挥首先应受到原作的限制。同时,呼吁翻译批评界对体现译者主体性的译本、译例进行客观评判,并期待更多、更好的美国华裔文学作品的翻译、复译。
[Abstract]:This paper focuses on the translator's subjectivity in the translation of the Chinese literary works Joy Luck Club. The translator's subjectivity has gone through a process from neglect to gradual attention. The translator's status from "faithfulness" to "subjectivity" provides a new perspective for literary translation criticism. In the late 1980s and early 1990s, Chinese American literature gradually received extensive attention from the academic circles of China and the United States. As a result of the themes covered by his works and the special life background of the authors of such works, the reader, in the course of reading such translated works, not only realizes the commonness of human communication among different peoples and cultures, Chinese writers also feel the conflict and blending of Chinese and American culture and values. Therefore, the translation of Chinese American literature is to some extent cultural translation. As a link between the original and the translated works in literary translation, the subjectivity of the original author and the translator of the target reader in this cultural translation is inevitable. The Joy Luck Club is the representative work of the Chinese writer Amy Tan. This paper tells the story of four Chinese immigrant mothers and their daughters born in the United States from misunderstanding, conflict to understanding. The works reflect the conflict between Chinese and American culture through the conflict of mother and daughter. The novel was a great success in the United States when it was published in 1989. In mainland China, the Spring Wind Art Publishing House published Tian Qing's translated Joy Luck Club in 1992, and in 2006 Shanghai Translation Publishing House invited Cheng Naishan to translate and publish the latest edition of "Joy Luck Club". Based on a comparative study of the two translations in 1992 and 2006, this paper cites a large number of examples to analyze the embodiment of the translator's subjectivity in the translation of the Joy Luck Club from the perspective of translation methods, cultural restoration and translation strategies. It includes title translation, name translation, Pinyin content translation, dialogue content translation, Chinese cultural content translation, addition translation, subtraction translation, translation modification and so on. Through the analysis of the mistaken translation in the two versions, it is emphasized that the unity of the translator's subjectivity and faithfulness is an unavoidable problem in literary translation, and the objective existence of the translator's subjectivity is not in contradiction with the criterion of faithfulness. First of all, the translator's subjectivity should be restricted by the original work. At the same time, the critical circle of translation is called upon to objectively judge the translation and translation examples which embody the translator's subjectivity, and to look forward to more and better translation and retranslation of Chinese American literary works.
【学位授予单位】：河北大学
【学位级别】：硕士
【学位授予年份】：2007
【分类号】：I046;H315.9
本文编号：2230268
[Abstract]:This paper focuses on the translator's subjectivity in the translation of the Chinese literary works Joy Luck Club. The translator's subjectivity has gone through a process from neglect to gradual attention. The translator's status from "faithfulness" to "subjectivity" provides a new perspective for literary translation criticism. In the late 1980s and early 1990s, Chinese American literature gradually received extensive attention from the academic circles of China and the United States. As a result of the themes covered by his works and the special life background of the authors of such works, the reader, in the course of reading such translated works, not only realizes the commonness of human communication among different peoples and cultures, Chinese writers also feel the conflict and blending of Chinese and American culture and values. Therefore, the translation of Chinese American literature is to some extent cultural translation. As a link between the original and the translated works in literary translation, the subjectivity of the original author and the translator of the target reader in this cultural translation is inevitable. The Joy Luck Club is the representative work of the Chinese writer Amy Tan. This paper tells the story of four Chinese immigrant mothers and their daughters born in the United States from misunderstanding, conflict to understanding. The works reflect the conflict between Chinese and American culture through the conflict of mother and daughter. The novel was a great success in the United States when it was published in 1989. In mainland China, the Spring Wind Art Publishing House published Tian Qing's translated Joy Luck Club in 1992, and in 2006 Shanghai Translation Publishing House invited Cheng Naishan to translate and publish the latest edition of "Joy Luck Club". Based on a comparative study of the two translations in 1992 and 2006, this paper cites a large number of examples to analyze the embodiment of the translator's subjectivity in the translation of the Joy Luck Club from the perspective of translation methods, cultural restoration and translation strategies. It includes title translation, name translation, Pinyin content translation, dialogue content translation, Chinese cultural content translation, addition translation, subtraction translation, translation modification and so on. Through the analysis of the mistaken translation in the two versions, it is emphasized that the unity of the translator's subjectivity and faithfulness is an unavoidable problem in literary translation, and the objective existence of the translator's subjectivity is not in contradiction with the criterion of faithfulness. First of all, the translator's subjectivity should be restricted by the original work. At the same time, the critical circle of translation is called upon to objectively judge the translation and translation examples which embody the translator's subjectivity, and to look forward to more and better translation and retranslation of Chinese American literary works.
【学位授予单位】：河北大学
【学位级别】：硕士
【学位授予年份】：2007
【分类号】：I046;H315.9
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