从译者主体性看文学翻译的创造性叛逆

发布时间：2018-06-30 07:16

本文选题：译者主体性 + 创造性叛逆　；参考：《武汉理工大学》2005年硕士论文

【摘要】：本文以译者的主体性为视角出发点,探讨文学翻译中的创造性叛逆,进一步深化了翻译领域这一全新的理念。本文阐述了作者、译者、读者三者之间的相互关系,以及作者、原作、译者、译作和读者之间的关系;而译者的主体性和文学翻译的创造性叛逆主要从这两个关系层面展开,除此之外文学翻译的创造性叛逆还与接受语境有关。译者主体性地位的确立经历了一个长期的过程。在传统的翻译观中,译者经常被看作是“仆人”,既要忠实于作者,又要忠实于读者,人们要求译者“透明”或译作“透明化”。而在翻译实践中,由于语言与文化之间的差异,翻译本身的局限性以及意义的不稳定性,译者很难做到完全忠实于原作,这就促使了翻译研究转向译者的主体性,而阐释学是最早研究主体的学说。从现代阐释学的观点看,翻译过程是译者理解和阐释的过程。译者首先是一个读者、阐释者,捌有自己的“先结构”和“前理解”,他对原作的阐释和理解是一个积极主动的过程,受到其所处时代文化与语言的影响,具有独特性,因此译作不可能完全忠实于原作,也不存在绝对客观的译作。因而,翻译研究逐渐转向译者——这个翻译过程中最活跃、积极的因素。译者主体性在翻译中的表现主要是,个性化翻译、误译和漏译、节译和编译、转译和改编。文学翻译的创造性叛逆也主要表现在这四个方面。除了译者主体性以外,文学翻译的创造性叛逆还受读者和接受语境的影响。一部文学作品如果没有读者就不能称之为作品,译者完成的译作,在读者阅读和接受的过程中也会产生些许变形,这种变形在一定程度上也是一种创造性叛逆,因此同一个原作在同一时期会有不同的译作,不同的读者接受不同的译作,这在某一程度上也扩大了文学翻译的创造性叛逆。一部文学作品虽然它的文字和内容没有改变,但是其翻译作品的语言,风格
[Abstract]:From the perspective of the translator's subjectivity, this paper explores creative treason in literary translation, which further deepens the new concept of translation. This paper expounds the relationship among author, translator and reader, as well as the relationship between author, original work, translator, translator and reader, while the subjectivity of translator and creative treason in literary translation are mainly carried out from these two levels. In addition, the creative treason in literary translation is also related to the context of acceptance. The establishment of the translator's subjectivity has gone through a long process. In the traditional view of translation, translators are often regarded as "servants", who are not only faithful to the author but also to the reader, and are required to be "transparent" or "transparent" in translation. However, in translation practice, due to the differences between language and culture, the limitations of translation itself and the instability of meaning, it is very difficult for the translator to be completely faithful to the original work, which makes translation studies turn to the translator's subjectivity. Hermeneutics is the earliest theory of the subject. From the perspective of modern hermeneutics, translation is the process of translator's understanding and interpretation. First of all, the translator is a reader and interpreter. He has his own "pre-structure" and "pre-understanding". His interpretation and understanding of the original work is a proactive process, which is influenced by the culture and language of his time and is unique. Therefore, the translation can not be completely faithful to the original, and there is no absolute objective translation. As a result, translation studies have gradually shifted to the translator, the most active and positive factor in the process of translation. The main manifestations of translator subjectivity in translation are individualized translation, mistranslation and omission, translation and translation, translation and adaptation. The creative treason in literary translation is also manifested in these four aspects. Besides the translator's subjectivity, the creative treason of literary translation is also influenced by readers and receptive contexts. A literary work can not be called a work without readers. The translator's translation will also produce some deformation in the process of readers' reading and acceptance. This kind of deformation is also a kind of creative treason to a certain extent. Therefore, the same original works will have different translations in the same period, and different readers will accept different translations, which to some extent expands the creative treason of literary translation. Although the text and content of a literary work have not changed, the language and style of its translation work
【学位授予单位】：武汉理工大学
【学位级别】：硕士
【学位授予年份】：2005
【分类号】：I046

【引证文献】