《包法利夫人》两个中文译本的比较分析
发布时间：2018-07-26 13:27
【摘要】： 文学翻译作为翻译的一个重要分支,在中国,直到上个世纪初,才开始被人们系统地介绍,有了进一步发展。而自有翻译活动之时起的关于忠实性与再创造之间的争论非但没有停止反而似乎更加热烈。这一观念上的对立使忠实性成为了文学翻译的某种标准。然而,任何标准都无绝对可言,我们必须结合实际情况,寻找一个最佳切入点,此时标准才有意义。从这个基础出发我们可以思考关于文学翻译的某些问题。 文学翻译,仅从字面含义看,我们即可了解它必须满足文学性。释意派理论认为,理解、脱离语言外壳重和新表达是翻译过程的三个步骤。我们认为,对于准确传达原著的文学性来说,前两个步骤固然重要,重新表达却更重要,因为这关系到译者对译入语的掌握和运用。从文学作品的特点和文学翻译的目的看,我们认为文学翻译包含几个特点,即对原著的忠实性、原作的文学语言特性和译者的再创造性。本文将通过这几个特点对《包法利夫人》的两个中译本进行比较分析,探讨这两个译各自对原著的忠实程度、流畅度与文学性、译者翻译的过程中所发挥的再创造性是否恰当。我们认为虽然文学翻译没有真正的标准可言,但译者翻译使命的客观性和翻译接受的主观性对“忠实”和“创造”程度的掌握,对最终译文质量和原作在译入语文化的地位有很大影响。因此,译者只有将两者结合,才能够使译文既不会过于浮夸脱离原著,也不至于太死板、生涩。 本论文第一部分重点介绍包法利夫人这部小说的主要内容、福楼拜的生平以及福楼拜对文体及风格的观点;第二以及第三部分分别介绍两个中文译本的译者,这两位译者对文学翻译一些问题的看法;最后,从我们建立的几个分析的原则对两个版本的翻译进行比较,看其是否很好体现了我们所涉及的文学翻译的几个特性,并因此提出我们的观点。 由于时间仓促,资料有限,并且作者研究经验尚浅,本论文存在一些理论和表达的不足还望各位评委老师和专家谅解,并给予批评指正。
[Abstract]:Literary translation, as an important branch of translation, was not introduced systematically until the beginning of last century in China. The debate between faithfulness and re-creation from the time of translation seems to be more heated than ever. The opposition of this concept makes faithfulness a certain standard of literary translation. However, there is no absolute standard, we must combine the actual situation, find the best entry point, then the standard has meaning. On this basis, we can think about some questions about literary translation. Literary translation, only from the literal meaning, we can understand that it must satisfy the literariness. According to the interpretive theory, understanding, leaving the language and new expressions are three steps in the process of translation. In our opinion, the first two steps are important to convey the literariness of the original work, but the re-expression is more important, because it is related to the translator's mastery and application of the target language. From the point of view of the characteristics of literary works and the purpose of literary translation, we think that literary translation contains several characteristics, namely, faithfulness to the original works, the literary language characteristics of the original works and the re-creativity of the translator. Based on these features, this paper makes a comparative analysis of the two Chinese versions of Madame Bovary, and explores whether the two translations are appropriate for their fidelity, fluency and literariness to the original, and whether the translator's re-creativity in the process of translation is appropriate. We believe that although there is no real criterion for literary translation, the objectivity of the translator's translation mission and the subjectivity of translation acceptance have a good grasp of the degree of "faithfulness" and "creation". It has great influence on the quality of the final translation and the position of the original in the target culture. Therefore, only when the translator combines the two, can the translation be neither too pompous from the original, nor too rigid and astringent. The first part of this thesis focuses on the main contents of Mrs. Bovary's novel, the life of Flaubert and Flaubert's views on style and style. The second and third parts introduce the translators of the two Chinese versions, respectively. The two translators' views on some problems in literary translation. Finally, we compare the translation of the two versions from several analytical principles that we have established to see if they well reflect some of the characteristics of the literary translation we are involved in. And thus put forward our point of view. Due to the short time, limited data and shallow research experience of the author, there are some theoretical and expressive deficiencies in this paper, which still hope that the judges' teachers and experts will understand, and give criticism and correction.
【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】：2010
【分类号】：I046;H315.9
本文编号：2146156
[Abstract]:Literary translation, as an important branch of translation, was not introduced systematically until the beginning of last century in China. The debate between faithfulness and re-creation from the time of translation seems to be more heated than ever. The opposition of this concept makes faithfulness a certain standard of literary translation. However, there is no absolute standard, we must combine the actual situation, find the best entry point, then the standard has meaning. On this basis, we can think about some questions about literary translation. Literary translation, only from the literal meaning, we can understand that it must satisfy the literariness. According to the interpretive theory, understanding, leaving the language and new expressions are three steps in the process of translation. In our opinion, the first two steps are important to convey the literariness of the original work, but the re-expression is more important, because it is related to the translator's mastery and application of the target language. From the point of view of the characteristics of literary works and the purpose of literary translation, we think that literary translation contains several characteristics, namely, faithfulness to the original works, the literary language characteristics of the original works and the re-creativity of the translator. Based on these features, this paper makes a comparative analysis of the two Chinese versions of Madame Bovary, and explores whether the two translations are appropriate for their fidelity, fluency and literariness to the original, and whether the translator's re-creativity in the process of translation is appropriate. We believe that although there is no real criterion for literary translation, the objectivity of the translator's translation mission and the subjectivity of translation acceptance have a good grasp of the degree of "faithfulness" and "creation". It has great influence on the quality of the final translation and the position of the original in the target culture. Therefore, only when the translator combines the two, can the translation be neither too pompous from the original, nor too rigid and astringent. The first part of this thesis focuses on the main contents of Mrs. Bovary's novel, the life of Flaubert and Flaubert's views on style and style. The second and third parts introduce the translators of the two Chinese versions, respectively. The two translators' views on some problems in literary translation. Finally, we compare the translation of the two versions from several analytical principles that we have established to see if they well reflect some of the characteristics of the literary translation we are involved in. And thus put forward our point of view. Due to the short time, limited data and shallow research experience of the author, there are some theoretical and expressive deficiencies in this paper, which still hope that the judges' teachers and experts will understand, and give criticism and correction.
【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】：2010
【分类号】：I046;H315.9
【参考文献】
相关期刊论文 前3条
1 王培基,孟海青;文学语言的音乐性特征及其研究途径[J];青海师范大学学报(哲学社会科学版);2000年01期
2 张成柱;;文学翻译中的情感移植[J];中国翻译;1993年04期
3 曾利沙;对“Altogether Autumn”两种译文的比较评析——兼论多种译本“批评”的方法论[J];中国翻译;2000年05期
，本文编号：2146156
本文链接：https://www.wllwen.com/wenyilunwen/wenxuepinglunlunwen/2146156.html
