接受美学、阐释学和《魔戒》翻译
发布时间：2018-09-10 16:29
【摘要】：《魔戒》是一部宏大的奇幻小说。它是教授文献学并钻研古盎格鲁撒克逊语言的牛津大学教授、语言学家托尔金创作的一部森罗万象的架空世界的作品。自二十世纪六十年代问世以来,它一直倍受读者们的喜爱,是二十世纪最畅销的作品之一。《魔戒》的经久不衰以及巨大的影响力使其作者托尔金被人们誉为“奇幻文学之父”。托尔金在小说中大胆地采用了许多自创的语句和文法,成功地让读者瞥见了故事背后所隐藏的庞大历史背景。《魔戒》已被译为四十多种文字,畅销世界,但其中文版区姗姗来迟。2001年译林出版社出版了中文版的《魔戒》,立刻引起了极大的反响。 本文着重借鉴西方哲学阐释学和接受美学的若干理论来分析《魔戒》的翻译。在简要追溯西方阐释学发展的基础上,概述了阐释学的代表人物伽达默尔的“偏见”理论及其对接受美学的影响,该理论强调了理解的普遍性、创造性、历史性。接受美学产生于二十世纪六十年代末、七十年代初。其代表人物是伊瑟尔和姚斯。它和阐释学的主要差别在于阐释学是哲学理论,而接受美学是一种文论。接受美学将研究的重点由传统的文本转向了读者。认为单纯的作品文本研究只抓住了文学总体活动的一个纬度,忽视了人的活生生的交流和文学社会接受效果问题。而读者决不是可有可无的因素,读者是文学活动的能动主体。 本文将从阐释学和接受美学角度来探讨翻译的本质,并结合该理论评论《魔戒》的翻译和接受。本文分为三章:第一章介绍作品《魔戒》以及它现有的译本。第二章探讨了阐释学、接受美学、以及翻译和阐释学、接受美学的关系。翻译是种阐释;翻译的过程中有两次接受,第一次接受活动是译者和原作的对话,即译者对原作的阐释,与此同时,译者还要考虑到读者的反应。第二次接受是读者与译者的对话。第三章则运用阐释学和接受美学的观点来分析《魔戒》的翻译。本文将从期待视野、美学元素的再创造和读者的反应三个方面来探讨。美学元素的再创造这一部分则是从作品的结构、人物的个性、修辞、以及文中的诗歌翻译等几个方面展开讨论。
[Abstract]:The Lord of the Rings is a great fantasy novel. It is a work of the silhouette world written by Oxford University professor of ancient Anglo-Saxon languages and linguist Tolkien. Since its publication in the 1960s, it has been one of the best-selling works of the 20th century. The enduring and great influence of the Lord of the Rings has made its author Tolkien known as the father of fantasy literature. Tolkien boldly uses many of his own words and grammars in his novels, successfully giving readers a glimpse of the vast historical background behind the story. The Lord of the Rings has been translated into more than forty languages and sold in the world. However, the Chinese version of Lord of the Rings was published by Yilin Publishing House in 2001, which immediately aroused great response. This paper analyzes the translation of the Lord of the Rings from some theories of western philosophical hermeneutics and receptive aesthetics. Based on a brief review of the development of Western hermeneutics, this paper summarizes Gadamer's theory of "prejudice" and its influence on reception aesthetics, which emphasizes the universality, creativity and historicity of understanding. Reception aesthetics emerged in the late 1960 s and early 1970 s. Its representative figures are Iser and Joss. The main difference between hermeneutics and hermeneutics is that hermeneutics is a philosophical theory, while reception aesthetics is a literary theory. Reception aesthetics shifts the focus of the study from the traditional text to the reader. It is considered that the study of literary texts only grasps one dimension of the overall literary activities and neglects the living communication of human beings and the acceptance effect of literary societies. The reader is by no means a dispensable factor, and the reader is the active subject of literary activity. This paper discusses the nature of translation from the perspective of hermeneutics and reception aesthetics, and comments on the translation and acceptance of the Lord of the Rings. This paper is divided into three chapters: the first chapter introduces the Lord of the Rings and its existing translations. Chapter two discusses the relationship between hermeneutics, reception aesthetics, translation, hermeneutics and reception aesthetics. Translation is a kind of interpretation. In the process of translation, there are two acceptances, the first acceptance is the dialogue between the translator and the original, that is, the translator's interpretation of the original, and at the same time, the translator takes into account the reader's reaction. The second acceptance is the dialogue between the reader and the translator. Chapter three uses hermeneutics and receptive aesthetics to analyze the translation of Lord of the Rings. This article will discuss from three aspects: the vision of expectation, the re-creation of aesthetic elements and the response of readers. The re-creation of aesthetic elements is discussed from several aspects, such as the structure of the work, the personality of the characters, rhetoric, and poetry translation.
【学位授予单位】：武汉大学
【学位级别】：硕士
【学位授予年份】：2005
【分类号】：I046
本文编号：2234992
[Abstract]:The Lord of the Rings is a great fantasy novel. It is a work of the silhouette world written by Oxford University professor of ancient Anglo-Saxon languages and linguist Tolkien. Since its publication in the 1960s, it has been one of the best-selling works of the 20th century. The enduring and great influence of the Lord of the Rings has made its author Tolkien known as the father of fantasy literature. Tolkien boldly uses many of his own words and grammars in his novels, successfully giving readers a glimpse of the vast historical background behind the story. The Lord of the Rings has been translated into more than forty languages and sold in the world. However, the Chinese version of Lord of the Rings was published by Yilin Publishing House in 2001, which immediately aroused great response. This paper analyzes the translation of the Lord of the Rings from some theories of western philosophical hermeneutics and receptive aesthetics. Based on a brief review of the development of Western hermeneutics, this paper summarizes Gadamer's theory of "prejudice" and its influence on reception aesthetics, which emphasizes the universality, creativity and historicity of understanding. Reception aesthetics emerged in the late 1960 s and early 1970 s. Its representative figures are Iser and Joss. The main difference between hermeneutics and hermeneutics is that hermeneutics is a philosophical theory, while reception aesthetics is a literary theory. Reception aesthetics shifts the focus of the study from the traditional text to the reader. It is considered that the study of literary texts only grasps one dimension of the overall literary activities and neglects the living communication of human beings and the acceptance effect of literary societies. The reader is by no means a dispensable factor, and the reader is the active subject of literary activity. This paper discusses the nature of translation from the perspective of hermeneutics and reception aesthetics, and comments on the translation and acceptance of the Lord of the Rings. This paper is divided into three chapters: the first chapter introduces the Lord of the Rings and its existing translations. Chapter two discusses the relationship between hermeneutics, reception aesthetics, translation, hermeneutics and reception aesthetics. Translation is a kind of interpretation. In the process of translation, there are two acceptances, the first acceptance is the dialogue between the translator and the original, that is, the translator's interpretation of the original, and at the same time, the translator takes into account the reader's reaction. The second acceptance is the dialogue between the reader and the translator. Chapter three uses hermeneutics and receptive aesthetics to analyze the translation of Lord of the Rings. This article will discuss from three aspects: the vision of expectation, the re-creation of aesthetic elements and the response of readers. The re-creation of aesthetic elements is discussed from several aspects, such as the structure of the work, the personality of the characters, rhetoric, and poetry translation.
【学位授予单位】：武汉大学
【学位级别】：硕士
【学位授予年份】：2005
【分类号】：I046
【引证文献】
相关硕士学位论文 前2条
1 朱明霓;奇幻性在翻译中的体现[D];华东师范大学;2008年
2 留妍;试论西方奇幻文学的翻译[D];上海外国语大学;2009年
，本文编号：2234992
本文链接：https://www.wllwen.com/wenyilunwen/yishull/2234992.html
