翻译美学视角下《红高粱家族》的维译研究

发布时间：2018-02-14 12:08

本文关键词： 《红高粱家族》维译过程翻译美学审美再现审美不足　出处：《喀什大学》2017年硕士论文　论文类型：学位论文

【摘要】：莫言作为中国现代文学的草根大家,所著《红高粱家族》在国内外都获得了诸多荣誉,其作品不仅灵性十足并且极具有血性,读罢启人心智。《红高粱家族》作为一部现代文学作品,其原作本身便暗含众多的审美要素,凝结着作者深思熟虑创作的精华。因此在维译的过程中如何在译著中再现原语的审美效果,达到译语与原语审美的同一,是维译者所要面临的重要问题。笔者通过语料搜集整理发现,翻译美学的研究多涉及外语翻译研究,而对于汉语、维吾尔语方面翻译性的文章则少之又少,这就为笔者提供了一些思考空间。文学作品的审美翻译本身就是一种翻译挑战,本文笔者以刘宓庆先生的翻译美学理论为指导,借助于一些翻译学的理论知识,以《红高粱家族》汉维语实例为研究对象,对其维译语审美再现进行深层次的探究。笔者以刘宓庆先生的翻译美学理论为指导,对《红高粱家族》进行了翻译美学研究,其意义深刻,值得一探。本文主要从形式体系和非形式体系两个层面分析了《红高粱家族》的审美,讨论了审美的再现与不足,在审美再现中,译者使用了什么策略;在审美不足中,译者又丢失了什么美感要素。论文首先分析了形式体系下的四个信息体系,分析出节奏美、重叠美、形象美、修辞美、意境美、韵律美、形式美;其次分析了非形式体系下四种意象的交融美和相辅美;再次,翻译是不可能十全十美的,因而进一步又分析了《红高粱家族》维译过程中的审美不足及其原因。最后由于汉维文化之间存在相同的审美部分,因此很多翻译可以审美再现,而对于未能相通的文化部分,再加上译者对于艺术的鉴赏力有所欠缺,则是造成了审美流失的原因,导致了一些审美不能被再现出来。但是总体来说,对于审美的再现,是可以通过“理解到加工到转化”这个模式再现的。不同的审美角度分析有着不同的理解,不同的理解有着不同的翻译。笔者希望可以从翻译实践出发,使用翻译美学理论对其进行深刻的剖析。最后希望对维译版《红高粱家族》的审美研究能够对翻译理论研究界的各位学者们有一些启示。同时也希望各位学者不吝赐教,在肯定本文对翻译过程中遇到的翻译审美问题的研究和分析的同时,共同推动新疆双语文学作品之间的共通、共融。
[Abstract]:As the grassroots of modern Chinese literature, Mo Yan's "Red Sorghum Family" has won many honors both at home and abroad. His works are not only very spiritual but also extremely bloody. Read the mind of the people. As a modern literary work, the Red Sorghum Family implies many aesthetic elements in its original work. Therefore, how to reproduce the aesthetic effect of the source language in the process of translation, so as to achieve the aesthetic identity between the target language and the original language, The author finds that the study of translation aesthetics mostly involves the study of foreign language translation, while for Chinese, there are very few articles on translation in Uygur language. The aesthetic translation of literary works is a kind of translation challenge. Under the guidance of Liu Miqing's theory of translation aesthetics, the author makes use of some theoretical knowledge of translation studies. Taking the example of Chinese and Uygur language as the research object, the author makes a deep exploration into the aesthetic reappearance of the Uygur translation language. Under the guidance of Liu Miqing's translation aesthetics theory, the author makes a study on the translation aesthetics of the Red Sorghum Family. This paper analyzes the aesthetics of "Red Sorghum Family" from two aspects: formal system and non-formal system, discusses the reappearance and deficiency of aesthetics, and what strategies the translator uses in aesthetic reproduction; At first, the thesis analyzes the four information systems under the formal system, including rhythm beauty, overlap beauty, image beauty, rhetoric beauty, artistic conception beauty, rhythm beauty, formal beauty; Secondly, it analyzes the blending beauty and the complementary beauty of the four images under the non-formal system. Thirdly, translation is impossible to be perfect. Therefore, it further analyzes the aesthetic deficiency and its causes in the translation of the Red Sorghum Family. Finally, because there are the same aesthetic parts between the Han and Wei cultures, many translations can be aesthetically reproduced, but for the cultural parts that are not in common with each other, In addition, the translator's lack of appreciation of art is the reason for the loss of aesthetics, which leads to the fact that some aesthetics cannot be reproduced. Different aesthetic analysis has different understanding, different understanding has different translation. The author hopes to start from translation practice. In the end, it is hoped that the aesthetic study of the Uygur version of the Red Sorghum Family will give some enlightenment to the scholars in the field of translation theory. At the same time, I also hope that the scholars will give us some advice. While affirming the research and analysis of translation aesthetic problems encountered in the course of translation, this paper promotes the common understanding and integration of Xinjiang bilingual literary works.
【学位授予单位】：喀什大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：H215;I046

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