从接受美学视角看宋词的翻译
发布时间：2018-10-05 10:46
【摘要】：宋词是中国古典文学宝库中的珍宝。宋词,作为一种配乐唱的诗体,具有与其他形式诗歌不同的特点:文字简洁,立意深远,格律严谨。清朝学者王国维称,宋词“能言诗之不能言,不能尽言诗之所言”。在国际交流日益频繁的今天,宋词的翻译有助于推动跨文化交流。 接受美学与传统的作者中心论和文本中心论不同,它强调读者在文学作品接受过程中的地位。接受美学认为,文学作品是一个充满空白和未定处、多层面的、未完成的图式结构。因此,文学文本的自身并不能产生独立的意义,而是需要借助读者的阅读具体化来丰富作品的意义,从而不断地维持作品的生命和提高作品的价值。 在对宋词的阅读和翻译过程中,译者是原文本的第一读者,具有主体性和创造性;目标语读者是译本的最终读者,在实现翻译作品的意义过程中扮演重要的角色;作为文学作品的一种形式,宋词具有文本未定处,如词汇层面的空白、句法层面的空白和格律空白。以上三大因素共同影响了翻译策略的选择和不同翻译版本的诞生。 本文结合接受美学理论,以苏词的英译为案例,对宋词翻译进行探索性的分析和研究,着重讨论译者作用、目标语读者地位和再现原作美学特点的翻译策略。最后,本文的预期结论是:第一,从接受美学角度评析译作,将诗词翻译研究的重点从文本中心转向读者中心,重视译者的主体性和创造性,能够解释并鼓励一首词的不同译本的存在价值,最终将有助于完善现有的翻译评判标准。第二,将接受美学引入宋词中文本空白的翻译处理,有助于丰富诗词翻译理论和翻译方法。
[Abstract]:Song ci is a treasure in the treasure-house of Chinese classical literature. Song ci, as a kind of poem with music and singing, has different characteristics from other forms of poetry: simple writing, profound meaning and strict rhythm. Wang Guowei, a scholar in the Qing Dynasty, said that Song ci "can not say what poetry can say, can not say the words of poetry." In today's increasingly frequent international communication, the translation of Song ci helps to promote cross-cultural communication. Reception aesthetics is different from the traditional author-centered theory and text-centered theory, which emphasizes the reader's position in the process of literary acceptance. Receptive aesthetics holds that literary works are full of blanks and uncertainties, multilayered, unfinished schematic structures. Therefore, the literary text itself can not produce independent meaning, but need to enrich the meaning of the works by the readers' reading concretization, so as to continuously maintain the life of the works and improve the value of the works. In the process of reading and translating Song ci, the translator is the first reader of the original text, with subjectivity and creativity, and the target language reader is the final reader of the translation, and plays an important role in the process of realizing the meaning of the translated works. As a form of literary works, Song ci has undefined text, such as lexical blank, syntactic blank and regular blank. The above three factors affect the choice of translation strategies and the birth of different translation versions. Based on the theory of reception aesthetics and taking the English translation of Su ci as an example, this paper makes an exploratory analysis and research on the translation of Song ci, focusing on the translator's role, the reader's position of the target language and the translation strategy of reproducing the aesthetic characteristics of the original work. Finally, the expected conclusions of the thesis are as follows: first, from the perspective of reception aesthetics, the emphasis of the study of poetry translation is shifted from text-centered to reader-centered, and the translator's subjectivity and creativity are emphasized. To explain and encourage the existence of different versions of a word will ultimately help to improve the existing criteria for translation evaluation. Secondly, it is helpful to enrich the translation theory and method of poetry translation by introducing reception aesthetics into the blank translation of Song ci.
【学位授予单位】：苏州大学
【学位级别】：硕士
【学位授予年份】：2011
【分类号】：H315.9;I046
本文编号：2253091
[Abstract]:Song ci is a treasure in the treasure-house of Chinese classical literature. Song ci, as a kind of poem with music and singing, has different characteristics from other forms of poetry: simple writing, profound meaning and strict rhythm. Wang Guowei, a scholar in the Qing Dynasty, said that Song ci "can not say what poetry can say, can not say the words of poetry." In today's increasingly frequent international communication, the translation of Song ci helps to promote cross-cultural communication. Reception aesthetics is different from the traditional author-centered theory and text-centered theory, which emphasizes the reader's position in the process of literary acceptance. Receptive aesthetics holds that literary works are full of blanks and uncertainties, multilayered, unfinished schematic structures. Therefore, the literary text itself can not produce independent meaning, but need to enrich the meaning of the works by the readers' reading concretization, so as to continuously maintain the life of the works and improve the value of the works. In the process of reading and translating Song ci, the translator is the first reader of the original text, with subjectivity and creativity, and the target language reader is the final reader of the translation, and plays an important role in the process of realizing the meaning of the translated works. As a form of literary works, Song ci has undefined text, such as lexical blank, syntactic blank and regular blank. The above three factors affect the choice of translation strategies and the birth of different translation versions. Based on the theory of reception aesthetics and taking the English translation of Su ci as an example, this paper makes an exploratory analysis and research on the translation of Song ci, focusing on the translator's role, the reader's position of the target language and the translation strategy of reproducing the aesthetic characteristics of the original work. Finally, the expected conclusions of the thesis are as follows: first, from the perspective of reception aesthetics, the emphasis of the study of poetry translation is shifted from text-centered to reader-centered, and the translator's subjectivity and creativity are emphasized. To explain and encourage the existence of different versions of a word will ultimately help to improve the existing criteria for translation evaluation. Secondly, it is helpful to enrich the translation theory and method of poetry translation by introducing reception aesthetics into the blank translation of Song ci.
【学位授予单位】：苏州大学
【学位级别】：硕士
【学位授予年份】：2011
【分类号】：H315.9;I046
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