从文本“空白”与“剧目”之关系论诗歌翻译——《荒原》的三种译文对比分析

发布时间：2018-01-12 08:13

本文关键词：从文本“空白”与“剧目”之关系论诗歌翻译——《荒原》的三种译文对比分析　出处：《安徽师范大学》2004年硕士论文　论文类型：学位论文

【摘要】： 本篇论文主要从文本“空白”和文本“剧目”的辨证关系出发探讨诗歌翻译者的再创造。“空白”和“剧目”均为伊瑟尔审美反应理论的核心概念：前者指文本本身包含的不确定性，后者指文本内和文本外与文本有关的读者熟悉的领域，这些确定的部分为读者对文本的理解提供了一个参照系。文学语言多义且复杂，尤其是诗歌。首先，它凝聚着诗人对世界的体验和感受，与共性语言有一定的差距；其次，它又并不能完全彻底地表达出诗人的意图，总有一定程度的背叛；再次，它在形成文本之后就只能在解释者的理解中保持生命力，而解释者又必然是以他个人的思索去诠释它，这些解读总会在一定程度上超出原作者的意图，所以要使读者的理解与原诗意蕴完全一致往往是不可能的。由于原诗是一个充满了“空白”、空缺、不确定的图示框架，而并不是一个已经被固定下来、不容许有任何改变的静止不动的东西，因此，它具有开放性。一首诗个性愈鲜明，其文学价值便愈高，，而文学价值愈高，其空白与未定点也愈多。对译者而言，一个开放的诗歌文本往往给他留下了较大的再创造的空间，因为诗歌翻译在很大程度上是对具有个性化的东西进行转换。要使其被译文的读者接受且又不损伤其原有的审美价值，诗歌翻译者就不得不在两种语言、两种文化中找到平衡点，设法探索各种可行的手段，对“空白”进行积极的、具有译者个性化和时空特征化的填充。这种填充本身就是一种选择、一种创造。然而，译者的创造不是一度创作而是建立在原文本基础上的二度创作或再创造。原诗具有双重的性质，既有开放的性质，也有被决定了的性质。所谓被决定是指它是诗人的有意安排，诗人在遣词用句的过程中，从词语的选择到句式的排列，从修辞手段的运用到意象的安排，无不表现出诗人是明显有意图的。除此之外，诗歌创作的个人因素、时空语境也都是不可忽略的。这种种内外因素共同构成原诗的“剧目”，对译者的再创造起了制约定向的作用。在本文中，作者以艾略特《荒原》在国内三个不同时期、不同地域的译本为例，通过对原诗不同层面“空白”的分析和对相应“剧目”的深入探讨，指出不同译文的异同优劣之处，具体论证诗歌翻译者的再创造。文章认为原诗文本既含有“空白”也含有“剧目”，两者互相依赖互相制约。“空白”是诗歌翻译者再创造的前提，而“剧目”是制约再创造的度；诗歌翻译者的活动正是在“剧目”规定的范围内对“空白”的不断填充；译者不可能完全摆脱个人或社会、历史因素的影响，但他在翻译过程中应尽可能避免这些因素的干扰，在译文读者可接受的前提下最大限度地反映原诗的风貌。本篇论文从一个新的角度揭示了诗歌翻译再创造的性质和译者翻译的原则。以往的研究主要集中于文本“空白”，而忽略了它与“剧目”的辨证关系，而片面强调前者往往会导致翻译活动无本可依，掉进相对主义的怪圈，不利于切实指导翻译实践。本篇论文旨在为文学作品的重译提供一定的理论依据，为现代诗歌翻译的研究开辟了一个新的切入点。
[Abstract]:This thesis mainly discusses the re - creation of the poetry translators from the dialectical relation between the text " blank " and the text " play " . The " blank " and " repertory " are the core concepts of the theory of the aesthetic reaction of Iser : the former refers to the uncertainty contained in the text itself , the latter refers to the field that the reader is familiar with the text outside the text and the text , and these determined parts provide a reference for the reader ' s understanding of the text . In the first place , it combines the poet ' s experience and experience in the world , and has a certain gap with the common language ; secondly , it can not fully express the poet ' s intention , and it has a certain degree of betrayal . However , the creation of the translator is not once created but the creation or creation of the second degree on the basis of the original text . In this paper , the author points out that the original verse contains both " blank " and " play " by analyzing the " blank " of the different levels of the original poem and the deep discussion of the corresponding " drama " . The article argues that the original verse contains both " blank " and " play " , which is the premise of the creation of the poetry translator . The translator cannot get rid of the influence of personal or social and historical factors , but he should avoid it as much as possible during the translation process The interference of some factors reflects the beauty of the original poetry to the maximum extent on the premise that the target reader is acceptable . From a new perspective , this paper reveals the nature of the translation of poetry and the principle of the translator ' s translation . The research focuses on the text " blank " , while ignoring the dialectical relationship between it and " play " , while one - sided emphasis on the former It is not beneficial to actually guide the translation practice . It is not conducive to the practical guidance of translation practice . The purpose of this paper is to provide some theoretical basis for the translation of literary works and open up a new study for the study of modern poetry translation Cut - in .

【学位授予单位】：安徽师范大学
【学位级别】：硕士
【学位授予年份】：2004
【分类号】：I046

【引证文献】