【摘要】：20世紀(jì)70年代,西方翻譯研究出現(xiàn)了文化轉(zhuǎn)向。在此之前翻譯研究者單純從語言層面對(duì)原文本及譯文進(jìn)行對(duì)比描述并試圖為譯者制定某種翻譯規(guī)則,忽略了翻譯在文學(xué)發(fā)展及文化傳播方面的作用。比利時(shí)裔美籍比較文學(xué)學(xué)者和翻譯理論家安德烈·勒弗菲爾為翻譯文化派的建立和發(fā)展做出了卓越貢獻(xiàn)。他提出的“改寫”理論及影響改寫的幾大要素重新詮釋了翻譯在文化系統(tǒng)中所起的作用�，F(xiàn)在,勒弗菲爾的改寫理論已經(jīng)獲得了翻譯界的肯定,但對(duì)其提出的影響改寫的因素尚有一定爭議。目前,最普遍的提法是影響改寫過程的有“三要素”,即“贊助人”,“詩學(xué)”,“意識(shí)形態(tài)”。但勒弗菲爾(2004)指出贊助人是從意識(shí)形態(tài),經(jīng)濟(jì)和地位影響譯者的改寫,意識(shí)形態(tài)包含在贊助人的影響因素內(nèi)。事實(shí)上,勒弗菲爾將影響改寫的因素分成兩類——文學(xué)系統(tǒng)內(nèi)的專業(yè)人士和文學(xué)系統(tǒng)外的贊助力量。專業(yè)人士從詩學(xué)和意識(shí)形態(tài)兩方面影響改寫而贊助力量只能通過專業(yè)人士用自己的意識(shí)形態(tài)影響改寫。本論文將著重研究《狼圖騰》的改寫過程如何透過專業(yè)人士受到詩學(xué)的操縱,并試圖論述此分類比“三要素”理論更清晰、更全面,為翻譯研究提供更系統(tǒng)的理論依據(jù)。 《狼圖騰》是一部非常有影響的中國當(dāng)代文學(xué),其在中國大陸售出300余萬冊(cè),被譯為30多種語言,在110多個(gè)國家發(fā)行,并在2007年9月獲得了首屆“曼氏亞洲文學(xué)獎(jiǎng)”。2005年,企鵝出版社以10萬美元預(yù)付金簽下《狼圖騰》英文版權(quán),打破了中國文學(xué)翻譯版權(quán)的記錄,并聘請(qǐng)美國著名漢學(xué)家葛浩文進(jìn)行翻譯。中國文學(xué)尤其是中國當(dāng)代文學(xué)在西方世界一直默默無聞,《狼圖騰》能取得如此驕人的成績,有其必然性也有其偶然性。本研究從改寫的角度對(duì)《狼圖騰》的譯本進(jìn)行分析,論述了成功的改寫能夠推動(dòng)文學(xué)作品在另一文學(xué)系統(tǒng)中的接受過程。中國作為一個(gè)崛起的大國需要依靠文化軟實(shí)力進(jìn)行文化輸出,《狼圖騰》改寫的成功無疑可以為我國文化輸出提供更多啟示。
[Abstract]:In the 1970 s, the western translation studies showed a cultural turn. Prior to this, translation researchers made a contrastive description of the original text and the target text at the linguistic level and tried to formulate some translation rules for the translator, neglecting the role of translation in the development of literature and the dissemination of culture. Andre Leverfield, a Belgian American comparative literature scholar and translation theorist, has made outstanding contributions to the establishment and development of translation culture school. His theory of rewriting and several factors influencing rewriting reinterpret the role of translation in the cultural system. At present, Lefel's rewriting theory has been affirmed in translation circles, but the factors that influence rewriting are still controversial. At present, the most popular formulation is that there are three elements that influence the process of rewriting, namely, patronage, poetics and ideology. But Leverfield (2004) points out that patronage influences translator's rewriting from ideology, economy and status, and ideology is included in the factor of patronage. In fact, Lefel divides the factors that influence rewriting into two categories: professionals in the literary system and sponsors outside the literary system. Professionals influence rewriting in terms of poetics and ideology, while sponsor forces can only influence rewriting through their own ideologies. This thesis will focus on how the rewriting process of Wolf Totem is manipulated by poetics through professionals, and try to discuss that the classification is clearer and more comprehensive than the theory of "three elements". "Wolf Totem" is a very influential contemporary Chinese literature, which has sold more than 3 million copies in mainland China and has been translated into more than 30 languages and distributed in more than 110 countries. In 2005, Penguin Press signed "Wolf Totem" in English with a prepaid 100000 US dollars, breaking the record of copyright in Chinese literary translation. And hired the famous American Sinologist Gehor to translate. Chinese literature, especially Chinese contemporary literature, has been unknown in the western world. This study analyzes the translation of Wolf Totem from the perspective of rewriting, and discusses that successful rewriting can promote the acceptance of literary works in another literary system. As a rising power, China needs to rely on the soft power of culture to export its culture. The success of "Wolf totem" rewriting can undoubtedly provide more enlightenment for the cultural export of our country.
【學(xué)位授予單位】：首都師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2012
【分類號(hào)】：H059

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