文学翻译译者的创造性叛逆

发布时间：2018-01-27 05:26

本文关键词： 文学翻译译者创造性叛逆　出处：《上海外国语大学》2004年硕士论文　论文类型：学位论文

【摘要】：文学翻译中的创造性叛逆这一术语自问世以来,一直属于较为敏感的话题,但却是翻译研究中一个具有独特研究价值的课题。传统的翻译理论认为译者应竭力摆脱主观性的控制,使译文忠实于原文,但是创造性叛逆的现象在这一术语被明确提出之前,已经存在于文学翻译中,并且表现出了顽强的生命力。本文第一章详细论述了这一备受争议的术语的广义定义和狭义定义,以及创造性叛逆与文学翻译的息息相关的联系。创造性叛逆在广义上即是指翻译活动本身,因为翻译赋予了原作第二次生命,使它与新的读者群发生了新的交流,并且在交流中可能取得原作者意料之外的收获。创造性叛逆在狭义上即指由于译者的主观努力而造成的译作与原作的背离,这正是本文论述的出发点。文学翻译由于文学文本意义的不确定性以及文学文本所追求的目的给译者的具体理解提出了挑战,所以文学翻译常常与创造性叛逆有息息相关的联系。本文第二章具体论述了译者的创造性叛逆和译者的“现形”之间的关系。一方面,译者作为翻译活动的关键主体,不可避免地成为创造性叛逆最重要的主体,译者的创造性叛逆很大程度上决定和影响着媒介者和接受者对原作的创造性叛逆;另一方面,译者的创造性叛逆最有力地论证了他在译作中并非是,而且也不可能是隐形的。译者必然现形于他的译作中,译作与原作相背离的现象特别清楚地体现出了译者的现形。本文第三章从勒菲弗尔的“三要素”出发,分析了创造性叛逆这种现象存在的必然性。勒菲弗尔认为翻译是重写,诗学观、意识形态和赞助人在决定翻译是重写中起到了决定性的作用。本文认为正是由于译者的诗学观和意识形态对翻译过程产生的不可避免的影响,以及赞助人由于实现本身目的的需要而对翻译活动施加的影响,而造成了译者的创造性叛逆的出现。
[Abstract]:The term "creative treason" in literary translation has been a sensitive topic since its inception. Traditional translation theory holds that translators should try their best to get rid of the subjective control and make the target text faithful to the original text. However, the phenomenon of creative treason has already existed in literary translation before the term was explicitly proposed, and has shown tenacious vitality. The first chapter discusses the broad definition and narrow definition of this controversial term, as well as the close relationship between creative treason and literary translation. In a broad sense, creative treason refers to the translation activity itself. Because translation gives the original a second life, it has a new communication with the new readers. Creative treason, in a narrow sense, refers to the deviation between the translation and the original due to the translator's subjective efforts. This is the starting point of this thesis. Literary translation poses a challenge to the translator's specific understanding due to the uncertainty of the meaning of the literary text and the purpose pursued by the literary text. Therefore, literary translation is often closely related to creative treason. The second chapter discusses the relationship between the translator's creative treason and the translator's "present form". On the one hand, the translator, as the key subject of translation, inevitably becomes the most important subject of creative treason. To a great extent, the translator's creative treason determines and influences the media and receiver's creative treason against the original. On the other hand, the translator's creative treason is the most powerful proof that he is and cannot be invisible in his translation. The phenomenon that the translation deviates from the original clearly reflects the translator's appearance. The third chapter analyzes the inevitability of the existence of creative treason from Lefevere's "three elements". Lefevere thinks that translation is rewriting and poetics. Ideology and patronage play a decisive role in deciding whether translation is rewritten. This paper argues that it is the translator's poetics and ideology that inevitably influence the process of translation. And the influence exerted by sponsors on translation activities because of the need to achieve their own purpose, which led to the emergence of creative treason of the translator.
【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】：2004
【分类号】：I046

【引证文献】