从模糊美学视角看汉语语言美感在《红楼梦》翻译中的再现
发布时间：2019-05-11 03:05
【摘要】： 随着模糊美学的发展，模糊概念引入美学领域，模糊美成为模糊美学研究的主要对象，不确定性是模糊美的主要特点。中国古典文学体现了丰富的模糊美特性，翻译的核心是语言转换，但更应是一种审美体验，一种不同思维方式的转变。 模糊性是文学语言，尤其是中国古典文学语言的一种自然属性，其中的模糊表达方式集中体现了模糊美，同时对中国古典文学的赏析也体现了审美活动的模糊性。这种模糊美已经引起一些译者的研究兴趣。然而，关于中国古典文学模糊审美以及其汉译英过程中模糊美的再现一直缺少系统研究和理论指导。二十世纪末《模糊美学》的出版为其提供了理论指导，模糊美学的研究冲破了传统美学的樊篱，为文学翻译尤其是中国古典文学英译的美学研究提供了新的视野。 基于此，本文探讨了文学模糊语言的分类及其不同理论观照下的模糊语言现象，以模糊美学为理论基础提出了古典文学翻译的美学原则，即再现原作的模糊美。在此原则指导下，通过对比中国古典文学《红楼梦》英译的不同译本，试图从语义、句法、语篇等层面探讨原作模糊美在译文中的再现与遗憾。并从接受美学的角度，提出处理模糊现象时应采用译文视野与译文读者期待视野部分重叠的译法。部分重叠意味着两种视野既有契合点，又有不同之处；译文视野应以读者的期待视野为依据，同时又超越它。由于两种视野有吻合之处，读者不会因为译文视野与期待视野差距过大而放弃阅读。另外，由于两种视野有相异点(译文视野高于读者期待视野)，在阅读过程中，读者才会主动地借助自己的想象力对未被破坏的召唤结构进行解析。这种差距和不协调能促使读者修正自己的期待视野，在调整和补充的过程中，提高自身的审美水平和文化敏感性。 本文共分四章。第一章：总述《红楼梦》在中外文学史上的地位及其九种英译本介绍。第二章：分析模糊语言是《红楼梦》中运用非常成功的一门语言艺术，集中探讨文学模糊在语义、句法和语篇三个层面的体现。第三章：模糊美在《红楼梦》英译过程中的再现。第四章：从语言审美生成机制角度对英汉语的不同模糊性作了叙述，并分析了这种机制差异导致《红楼梦》在汉译英过程中语言美感再现的遗憾。
[Abstract]:With the development of fuzzy aesthetics, fuzzy concept has been introduced into the field of aesthetics. Fuzzy beauty has become the main object of fuzzy aesthetics research, and uncertainty is the main feature of fuzzy aesthetics. Chinese classical literature embodies a wealth of fuzzy aesthetic characteristics. The core of translation is language conversion, but it should be an aesthetic experience and a transformation of different ways of thinking. Fuzziness is a natural attribute of literary language, especially Chinese classical literary language. The fuzzy expression embodies the fuzzy beauty, and the appreciation of Chinese classical literature also reflects the fuzziness of aesthetic activities. This vague beauty has aroused the interest of some translators. However, there has been a lack of systematic research and theoretical guidance on the fuzzy aesthetics of Chinese classical literature and the reproduction of fuzzy beauty in the process of translating it into English and Chinese. The publication of Fuzzy Aesthetics at the end of the 20th century provided it with theoretical guidance. The study of Fuzzy Aesthetics broke through the barriers of traditional aesthetics and provided a new field of vision for the aesthetic study of literary translation, especially the English translation of Chinese classical literature. Based on this, this paper discusses the classification of literary fuzzy language and the phenomenon of fuzzy language under different theoretical perspectives, and puts forward the aesthetic principles of classical literary translation, that is, the fuzzy beauty of reproducing the original work, on the basis of fuzzy aesthetics. Under the guidance of this principle, this paper attempts to explore the reproduction and regret of the fuzzy beauty of the original work in the translation from the semantic, syntactic and textual aspects by comparing the different versions of the Chinese classical literature A Dream of Red Mansions. From the point of view of reception aesthetics, this paper puts forward that the translation method of partially overlapping the visual field of the target text and the expectation field of the target reader should be used to deal with the vague phenomenon. Partial overlap means that there are both similarities and differences between the two horizons, and the visual field of translation should be based on the expectation vision of the readers and transcend it at the same time. Because the two horizons coincide, readers will not give up reading because of the gap between the translated vision and the expected field of vision. In addition, because the two horizons are different (the translation vision is higher than the reader's expectation vision), in the process of reading, the reader will take the initiative to analyze the undamaged calling structure with the help of his own imagination. This gap and disharmony can urge readers to correct their expectation vision and improve their aesthetic level and cultural sensitivity in the process of adjustment and supplement. This paper is divided into four chapters. The first chapter: the position of A Dream of Red Mansions in the history of Chinese and foreign literature and the introduction of nine kinds of English translations. The second chapter: the analysis of fuzzy language is a very successful language art in A Dream of Red Mansions, focusing on the embodiment of literary blurring at the semantic, syntactic and textual levels. The third chapter: the reproduction of fuzzy beauty in the process of translating A Dream of Red Mansions into English. Chapter IV: from the perspective of language aesthetic generation mechanism, this paper describes the different fuzziness of English and Chinese, and analyzes the regret that this mechanism difference leads to the reproduction of language aesthetic feeling in the process of translating A Dream of Red Mansions into English.
【学位授予单位】：中南大学
【学位级别】：硕士
【学位授予年份】：2006
【分类号】：H315.9;I046
本文编号：2474199
[Abstract]:With the development of fuzzy aesthetics, fuzzy concept has been introduced into the field of aesthetics. Fuzzy beauty has become the main object of fuzzy aesthetics research, and uncertainty is the main feature of fuzzy aesthetics. Chinese classical literature embodies a wealth of fuzzy aesthetic characteristics. The core of translation is language conversion, but it should be an aesthetic experience and a transformation of different ways of thinking. Fuzziness is a natural attribute of literary language, especially Chinese classical literary language. The fuzzy expression embodies the fuzzy beauty, and the appreciation of Chinese classical literature also reflects the fuzziness of aesthetic activities. This vague beauty has aroused the interest of some translators. However, there has been a lack of systematic research and theoretical guidance on the fuzzy aesthetics of Chinese classical literature and the reproduction of fuzzy beauty in the process of translating it into English and Chinese. The publication of Fuzzy Aesthetics at the end of the 20th century provided it with theoretical guidance. The study of Fuzzy Aesthetics broke through the barriers of traditional aesthetics and provided a new field of vision for the aesthetic study of literary translation, especially the English translation of Chinese classical literature. Based on this, this paper discusses the classification of literary fuzzy language and the phenomenon of fuzzy language under different theoretical perspectives, and puts forward the aesthetic principles of classical literary translation, that is, the fuzzy beauty of reproducing the original work, on the basis of fuzzy aesthetics. Under the guidance of this principle, this paper attempts to explore the reproduction and regret of the fuzzy beauty of the original work in the translation from the semantic, syntactic and textual aspects by comparing the different versions of the Chinese classical literature A Dream of Red Mansions. From the point of view of reception aesthetics, this paper puts forward that the translation method of partially overlapping the visual field of the target text and the expectation field of the target reader should be used to deal with the vague phenomenon. Partial overlap means that there are both similarities and differences between the two horizons, and the visual field of translation should be based on the expectation vision of the readers and transcend it at the same time. Because the two horizons coincide, readers will not give up reading because of the gap between the translated vision and the expected field of vision. In addition, because the two horizons are different (the translation vision is higher than the reader's expectation vision), in the process of reading, the reader will take the initiative to analyze the undamaged calling structure with the help of his own imagination. This gap and disharmony can urge readers to correct their expectation vision and improve their aesthetic level and cultural sensitivity in the process of adjustment and supplement. This paper is divided into four chapters. The first chapter: the position of A Dream of Red Mansions in the history of Chinese and foreign literature and the introduction of nine kinds of English translations. The second chapter: the analysis of fuzzy language is a very successful language art in A Dream of Red Mansions, focusing on the embodiment of literary blurring at the semantic, syntactic and textual levels. The third chapter: the reproduction of fuzzy beauty in the process of translating A Dream of Red Mansions into English. Chapter IV: from the perspective of language aesthetic generation mechanism, this paper describes the different fuzziness of English and Chinese, and analyzes the regret that this mechanism difference leads to the reproduction of language aesthetic feeling in the process of translating A Dream of Red Mansions into English.
【学位授予单位】：中南大学
【学位级别】：硕士
【学位授予年份】：2006
【分类号】：H315.9;I046
【引证文献】
相关期刊论文 前1条
1 戴艳云;;论《红楼梦》中模糊人物意象美在杨译本中的再现[J];滁州学院学报;2008年04期
，本文编号：2474199
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