發(fā)布時(shí)間：2018-06-29 09:52

  本文選題：《夢(mèng)之女》 + 翻譯補(bǔ)償　； 參考：《河南師范大學(xué)》2017年碩士論文

【摘要】：時(shí)代的變革,總是伴隨著社會(huì)的腥風(fēng)血雨和文人墨客的筆力刀鋒。永井荷風(fēng)是日本唯美派的代表作家,經(jīng)歷了日本從封建社會(huì)向資本主義社會(huì)轉(zhuǎn)變的特殊時(shí)期,他的作品中不乏對(duì)當(dāng)時(shí)社會(huì)的強(qiáng)力批判。此次筆譯項(xiàng)目選取的小說(shuō)《夢(mèng)之女》是永井荷風(fēng)的早期作品,并不被人熟知。該作品以明治初期的東京為舞臺(tái),講述了一個(gè)沒落武士家庭出生的女人,在時(shí)代沉浮中拼命生存的大半生。作品通過(guò)描述社會(huì)底層人民的生活狀態(tài)來(lái)表露對(duì)社會(huì)的不滿,對(duì)作為弱者的女性抱以極大的同情。譯者希望把這樣一部作品帶入大眾視線,讓人們?cè)诹私庥谰娠L(fēng)初期創(chuàng)作風(fēng)格的同時(shí),也看到在社會(huì)轉(zhuǎn)型期人民生活及心理狀態(tài)的變化,看到底層人民在時(shí)代浮沉中拼命生存的真實(shí)狀態(tài)。但是翻譯過(guò)程中譯者也發(fā)現(xiàn)許多難點(diǎn)。該作品的創(chuàng)作時(shí)間距今已有一個(gè)多世紀(jì),不僅作品的舞臺(tái)背景與現(xiàn)代社會(huì)有一定差異,在語(yǔ)言風(fēng)格上也有許多古日語(yǔ)的表達(dá)方式,如何準(zhǔn)確地理解原文并選擇合適的漢語(yǔ)將其漢譯出來(lái),這對(duì)譯者來(lái)說(shuō)也是一個(gè)挑戰(zhàn)。另外,文學(xué)作品的翻譯要求譯者不僅要準(zhǔn)確傳達(dá)原文的文字含義,更要再現(xiàn)原創(chuàng)作品的審美情趣,翻譯損失在所難免,此時(shí)翻譯補(bǔ)償?shù)谋匾砸簿晚槃?shì)凸顯。因此譯者決定以夏廷德的翻譯補(bǔ)償理論作為此次翻譯工作的主要指導(dǎo)理論,從詞匯、語(yǔ)法和審美三個(gè)層面進(jìn)行補(bǔ)償,并在翻譯報(bào)告中進(jìn)行了具體分析。通過(guò)此次的翻譯實(shí)踐,譯者深刻體會(huì)到了在中日互譯過(guò)程中語(yǔ)言表達(dá)和長(zhǎng)句分解的重要性,并將日語(yǔ)長(zhǎng)句的翻譯問(wèn)題,作為今后的研究重點(diǎn)。
[Abstract]:The revolution of the times is always accompanied by the blood of the society and the pen blade of the literati. As a representative writer of Japanese aestheticism, Nagai experienced a special period of transition from feudal society to capitalist society. His works were full of strong criticism of the society at that time. The novel chosen for this translation project, the daughter of Dreams, is an early work of Yongjing and is not well known. The work takes Tokyo in the early Meiji period as the stage and tells the story of a woman born of a fallen samurai family who struggled to survive in the ups and downs of the times. By describing the living conditions of the people at the bottom of the society, the works express their dissatisfaction with the society and have great sympathy for the women who are weak. The translator hopes to bring such a work to the attention of the public, so that people can not only understand the initial creative style of Yongjing, but also see the changes in people's life and psychological state during the transition period of society. To see the real state of the bottom people struggling to survive in the midst of the vicissitudes of the times. However, translators also find many difficulties in the process of translation. The creation time of this work has been more than a century, not only the stage background of the work is different from that of modern society, but also there are many ways of expressing ancient Japanese in language style. It is also a challenge for translators how to accurately understand the original text and choose the appropriate Chinese to translate it into Chinese. In addition, translation of literary works requires translators not only to accurately convey the original text meaning, but also to reproduce the aesthetic taste of original works, translation losses are inevitable, and the necessity of translation compensation is also highlighted. Therefore, the translator decides to use the translation compensation theory of Shatinde as the main guiding theory of the translation work, which is compensated from the lexical, grammatical and aesthetic aspects, and is analyzed concretely in the translation report. Through this translation practice, the translator deeply realizes the importance of language expression and long sentence decomposition in the process of translation between China and Japan, and makes the translation of Japanese long sentence as the focal point in the future.
【學(xué)位授予單位】：河南師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：H36;I046

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本文編號(hào)：2081732