接受美学与异化在文学翻译中的应用
发布时间：2019-04-19 13:36
【摘要】： 作为翻译的两种基本策略,归化与异化一直是学者讨论的主题。究竟以归化为主还是异化为主也一直是人们争论的焦点。总的来说,在中国近代翻译史上,归化的声调明显高于异化的呼声,在一百年的时间里,除了“五四”后十五六年的时间以鲁迅的异化翻译为主外,其余时间几乎都以归化为主。然而,时代在改变,在西方译论的影响下,尤其是接受美学传入中国,促使学者开始重新思考归化和异化的问题,不少译者开始支持异化翻译。 争论双方都有自己的理论基础。奈达是归化的代表,他提出了“最切近的自然对等”的概念。韦努蒂是异化的代表,他提出了“反翻译”的概念。而在中国译论中,归化的代表为傅雷的“神似”和钱钟书的“化境”,而异化的代表则是鲁迅的“宁信而不顺”。 在以前的许多翻译理论中,作者中心论和文本中心论占绝对统治地位,因此出现了一些“对等”“神似”等不切实际的理论,忽略了读者对译文的接受,也忽略译者在翻译过程中的能动参与作用。20世纪60年代,以现象学和阐释学为理论基础的接受美学的诞生,使人们找到了一个新的研究方法,是方法论上的一个重大变革。 一般翻译理论认为译者翻译的即是源文本,而从接受美学的观点看,作品只是作家创作的文艺制品,即第一文本,而被读者印入脑中,经过领悟、解释、融化之后再生的文本才是真正的审美对象,即第二文本。译者翻译的不是源文本,而是经过他自己理解过后的一个文本,这个文本只是源文本的多个近似值之一。因为接受美学认为,文本具有的空白、不确定性和否定结构使每个读者理解过后的版本都不尽相同。因此,等值的观念在翻译中是不可行的。 期待视野理论指出读者在阅读文学作品之前和进入阅读状态时,其意识并不是空白的,而是具有了某种世界观、社会经验、审美要求等,这就是读者的期待视野,其中又分为定向期待和创新期待。接受美学认为,只有能让激发读者的想像,满足读者的创新期待的作品,才是好的作品。同样,只有译文和读者期待视野之间的距离适中,才能使译文的授受效果达到最佳。因此,采用适当的异化是值得提倡的,归化和过度异化则因为其审美距离太短或太长,因此审美效果并不是最好。 读者的定向期待和创新期待并不是一成不变的,创新期待经过读者的接受后,便被纳入读者的已有认知结构,从而变成定向期待的部分。因此,异化翻译是应该采取的,而且是一个积累和吸收的过程,它可以丰富源语文化和语言形式。正是通过接受美学中的第一文本、第二文本的区分、期待视野、审美期待和视野转换的观点,本文重新讨论了归化和异化的问题,并且通过分析后,认为在当前的时代背景下,异化应该成为翻译的主流趋势。
[Abstract]:As two basic strategies of translation, domestication and foreignization have always been the subject of discussion by scholars. Whether domestication or alienation is the main focus of debate has always been the focus of debate. In general, in the history of modern Chinese translation, the tone of domestication is obviously higher than the voice of foreignization. In the 100 years, except for the 15 and 16 years after the May 4th Movement, Lu Xun's foreignization translation was the main focus. The rest of the time was almost dominated by naturalization. However, under the influence of western translation theories, especially the introduction of reception aesthetics into China, scholars begin to rethink the problem of domestication and foreignization, and many translators begin to support foreignization translation. Both sides of the argument have their own theoretical basis. Nida is the representative of naturalization. He put forward the concept of "closest natural equivalence". Wenuti is the representative of foreignization. He put forward the concept of "anti-translation". In the Chinese translation theory, the naturalized representative is Fu Lei's "divine resemblance" and Qian Zhongshu's "turning state", while the alienated representative is Lu Xun's "believing rather than obeying". In many previous translation theories, the author-centered theory and the text-centered theory occupied an absolute dominant position, so some unrealistic theories such as "equivalence" and "God-like" appeared, ignoring the readers' acceptance of the translation. In the 1960s, the emergence of reception aesthetics based on phenomenology and hermeneutics made people find a new research method, which is a major change in methodology. According to the general translation theory, the translator's translation is the source text. From the perspective of reception aesthetics, the works are only the literary and artistic products created by the writer, that is, the first text, which is printed in the mind of the reader and interpreted through comprehension and explanation. The reborn text after melting is the real aesthetic object, that is, the second text. The translator does not translate the source text but a text which has been understood by himself. This text is just one of the multiple approximations of the source text. According to reception aesthetics, the blank, uncertain and negative structure of the text makes each reader understand different versions. Therefore, the concept of equivalence is not feasible in translation. The theory of expectation field of vision points out that readers' consciousness is not blank before and after reading literary works, but has some world outlook, social experience, aesthetic requirements, etc. This is the reader's expectation vision. Among them, it is divided into orientation expectation and innovation expectation. Reception aesthetics holds that only works that inspire readers' imagination and satisfy their creative expectations are good works. Similarly, it is only when the distance between the target text and the reader's expectation is moderate that the reception effect of the translation can be optimized. Therefore, the adoption of appropriate alienation is worth advocating, domestication and excessive alienation because its aesthetic distance is too short or too long, so the aesthetic effect is not the best. The orientation expectation and the innovation expectation of the reader are not fixed. After the reader's acceptance, the innovation expectation is incorporated into the existing cognitive structure of the reader, and thus becomes the part of the orientation expectation. Therefore, foreignization translation should be adopted, and it is a process of accumulation and absorption, which can enrich the source language culture and language form. It is through the distinction between the first text and the second text, the perspective of expectation, the aesthetic expectation and the transformation of vision, this paper re-discusses the problem of domestication and alienation, and through the analysis, thinks that under the current background of the times, Foreignization should become the mainstream trend of translation.
【学位授予单位】：上海外国语大学
【学位级别】：硕士
【学位授予年份】：2007
【分类号】：I046
本文编号：2460990
[Abstract]:As two basic strategies of translation, domestication and foreignization have always been the subject of discussion by scholars. Whether domestication or alienation is the main focus of debate has always been the focus of debate. In general, in the history of modern Chinese translation, the tone of domestication is obviously higher than the voice of foreignization. In the 100 years, except for the 15 and 16 years after the May 4th Movement, Lu Xun's foreignization translation was the main focus. The rest of the time was almost dominated by naturalization. However, under the influence of western translation theories, especially the introduction of reception aesthetics into China, scholars begin to rethink the problem of domestication and foreignization, and many translators begin to support foreignization translation. Both sides of the argument have their own theoretical basis. Nida is the representative of naturalization. He put forward the concept of "closest natural equivalence". Wenuti is the representative of foreignization. He put forward the concept of "anti-translation". In the Chinese translation theory, the naturalized representative is Fu Lei's "divine resemblance" and Qian Zhongshu's "turning state", while the alienated representative is Lu Xun's "believing rather than obeying". In many previous translation theories, the author-centered theory and the text-centered theory occupied an absolute dominant position, so some unrealistic theories such as "equivalence" and "God-like" appeared, ignoring the readers' acceptance of the translation. In the 1960s, the emergence of reception aesthetics based on phenomenology and hermeneutics made people find a new research method, which is a major change in methodology. According to the general translation theory, the translator's translation is the source text. From the perspective of reception aesthetics, the works are only the literary and artistic products created by the writer, that is, the first text, which is printed in the mind of the reader and interpreted through comprehension and explanation. The reborn text after melting is the real aesthetic object, that is, the second text. The translator does not translate the source text but a text which has been understood by himself. This text is just one of the multiple approximations of the source text. According to reception aesthetics, the blank, uncertain and negative structure of the text makes each reader understand different versions. Therefore, the concept of equivalence is not feasible in translation. The theory of expectation field of vision points out that readers' consciousness is not blank before and after reading literary works, but has some world outlook, social experience, aesthetic requirements, etc. This is the reader's expectation vision. Among them, it is divided into orientation expectation and innovation expectation. Reception aesthetics holds that only works that inspire readers' imagination and satisfy their creative expectations are good works. Similarly, it is only when the distance between the target text and the reader's expectation is moderate that the reception effect of the translation can be optimized. Therefore, the adoption of appropriate alienation is worth advocating, domestication and excessive alienation because its aesthetic distance is too short or too long, so the aesthetic effect is not the best. The orientation expectation and the innovation expectation of the reader are not fixed. After the reader's acceptance, the innovation expectation is incorporated into the existing cognitive structure of the reader, and thus becomes the part of the orientation expectation. Therefore, foreignization translation should be adopted, and it is a process of accumulation and absorption, which can enrich the source language culture and language form. It is through the distinction between the first text and the second text, the perspective of expectation, the aesthetic expectation and the transformation of vision, this paper re-discusses the problem of domestication and alienation, and through the analysis, thinks that under the current background of the times, Foreignization should become the mainstream trend of translation.
【学位授予单位】：上海外国语大学
【学位级别】：硕士
【学位授予年份】：2007
【分类号】：I046
【引证文献】
相关期刊论文 前1条
1 黄雪芳;;文化翻译视角下对老舍短篇小说中英版本的解读[J];短篇小说(原创版);2013年07期
相关硕士学位论文 前1条
1 郭黎阳;期待视野理论视角下《茶馆》两个英译本的实证研究[D];大连外国语学院;2011年
，本文编号：2460990
本文链接：https://www.wllwen.com/wenyilunwen/wenxuell/2460990.html
