从改写理论角度研究《喜福会》四个中译本

发布时间：2017-09-12 09:29

本文关键词：从改写理论角度研究《喜福会》四个中译本

【摘要】：长期以来,翻译研究一直是在更多地关注语言层面,语言分析和文本对比被看作翻译研究的主要任务。随着国际交流的日益频繁,人们意识到仅从语言对比的层面进行文学翻译研究,只会陷入语言形式主义的泥沼,翻译研究更应重视翻译活动背后的社会、文化、政治、经济等多种因素。在此基础上,二十世纪九十年代,美国翻译文化学派的主要代表人物之一安德烈·勒菲弗尔和英国著名学者巴斯奈特共同倡导了翻译研究中的“文化转向”,突破了只注重语言层面的传统翻译对比研究,认为译者在翻译过程中受到所处时代的社会、文化和政治的种种制约,翻译研究实际上是文化互动的研究。其中,勒菲弗尔提出的改写理论革新了传统翻译研究模式,将翻译视为对原语文本的改写,是在意识形态、诗学、以及赞助人因素影响下对原语文本的操纵,并且强调了翻译中译者的主体性。随着文化学派的影响不断扩大,其理论也引起了中国翻译界的兴趣和重视。本研究在翻译研究领域“文化转向”的大背景下,以勒菲弗尔的改写理论为框架,对美国著名华裔女作家谭恩美的成名作《喜福会》的四个中译本——它们分别为大陆译者程乃珊1999年和2006年的两个译本,及台湾译者于人瑞1990年和2008年的两个译本——进行共时和历时研究,试图回答如下问题：从横向对比看大陆和台湾的译本和从纵向对比看程乃珊和于人瑞两人各自的两个译本,为何四个译本的特色如此不同?影响译本不同的主要因素是什么?这些因素又是如何影响这些译本的? 研究发现：这四个译本都是在特定的历史文化环境中进行的,是受特定的意识形态、诗学和赞助者共同作用的产物,而且这些社会文化因素在对语言的不同层面上所表现出来的影响力又是并不完全一致的,总体看来,它们在对词法层面上的操控要大于句法和语篇层面。但同时我们从研究中也能够发现无论从横向还是纵向比较分析文本,译本之间在一些语言层面上也有很大的相似性,这也充分体现了台湾和大陆同根同源同文化的历史背景,反映出随着中国文化影响力的提升,华人译者对译本有意无意的操控日趋明显。
【关键词】：《喜福会》 改写理论 意识形态 诗学 赞助人
【学位授予单位】：天津财经大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：H315.9;I046
【目录】：

ACKNOWLEDGEMENT4-5
内容摘要5-7
ABSTRACT7-13
Introduction13-17
0.1 Research Background13-14
0.2 Research Significance14-15
0.3 Research Methodology15
0.4 Thesis Structure15-17
Chapter Ⅰ Literature Review17-23
1.1 Researches into Chinese American Literature in the Mainland and Taiwan17-20
1.2 Researches into The Joy Luck Club and Its Chinese Translations20-23
1.2.1 Researches into The Joy Luck Club20
1.2.2 Researches into Chinese Translations of The Joy Luck Club20-23
Chapter Ⅱ Theoretical Framework: Andre Lefevere's Rewriting Theory23-29
2.1 The Origin and Development of Andre Lefevere's Rewriting Theory23-25
2.2 Main Concepts of Rewriting Theory and Their Impact on Literary Translation25-29
2.2.1 Ideology and Its Impact on Literary Translation25-26
2.2.2 Poetics and Its Impact on Literary Translation26-27
2.2.3 Patronage and the Professional: Their Impact on Literary Translation27-29
Chapter Ⅲ Case Study: An Analysis of the Four Chinese Versions of The Joy Luck Club29-49
3.1 Relevant Translators and Their Chinese Versions of The Joy Luck Club29-32
3.1.1 Cheng Naishan (the Mainland) and Her Two Versions29-31
3.1.2 Yu Renrui (Taiwan) and Her Two Versions31-32
3.2 Comparative Studies of the Four Chinese Versions from Horizontal and Longitudinal Perspectives32-49
3.2.1 At Lexical Level32-42
3.2.2 At Syntactic Level42-45
3.2.3 At Discourse Level45-47
3.2.4 Summary47-49
Chapter Ⅳ Analysis of the Variations of Rewritings Due to Ideologies, Poetics and Patronage in theFour Chinese Versions of The Joy Luck Club49-61
4.1 The Ideologies of the Two Translators in the Two Periods and Regions of China49-51
4.1.1 Difference in Dominant Ideologies between the Mainland and Taiwan49-50
4.1.2 Ideologies in the 1990s between the Mainland and Taiwan50
4.1.3 Ideologies in the Early 21~(st) Century between the Mainland and Taiwan50-51
4.2 The Poetic Characteristics of the Two Translators in the Two Periods and Regions of China51-54
4.2.1 Difference in Dominant Poetic Characteristics between the Mainland and Taiwan51-53
4.2.2 Difference in Poetic Characteristics since 1990s until Now between the Mainland and Taiwan53-54
4.3 The Patrons of the Two Translators in the Two Periods and Regions of China54-56
4.4 The Impact of Ideologies, Poetics and Patronage on the Four Chinese Versions of The Joy Luck Club56-61
4.4.1 The Impact of Ideologies, Poetics and Patronage at the Lexical Level of the Four Chinese Versions of The Joy Luck Club56-58
4.4.2 The Impact of Ideologies, Poetics and Patronage at the Syntactic Level of the Four Chinese Versions of The Joy Luck Club58-59
4.4.3 The Impact of Ideologies, Poetics and Patronage at the Discourse Level of the Four Chinese Versions of The Joy Luck Club59
4.4.4 Summary59-61
Conclusion61-64
Bibliography64-66