本文選題：詩歌意象 + 文化缺省��； 參考：《蘇州大學(xué)》2007年碩士論文

【摘要】： 詩歌翻譯是文藝作品翻譯中的難點(diǎn)。詩歌中,詩人經(jīng)常會使用蘊(yùn)涵了豐富民族文化色彩的意象,從而使詩歌意象的翻譯與文化緊密地聯(lián)系在一起。與此同時,詩人基于與其意向讀者共有的文化背景知識,對于一些文化意象中不言而喻的內(nèi)容往往加以省略,從而形成了詩歌意象中的文化缺省。這種情況在中國古典詩歌中猶為明顯。 然而,不同的民族有著彼此相異的文化傳統(tǒng)。在翻譯時,譯者與譯文讀者之間很難達(dá)到原文作者與原語讀者之間的那種默契。針對如何處理詩歌意象翻譯中的文化缺省存在著不同的觀點(diǎn):一種觀點(diǎn)認(rèn)為在詩歌翻譯中可以忽略詩歌中缺省的文化內(nèi)容,直接譯出詩人的意圖即可;另一種觀點(diǎn)則認(rèn)為翻譯的根本目的就在于不同民族、不同國家之間的溝通與交流,所以應(yīng)盡量譯出意象中缺省的文化內(nèi)容。 本文從接受理論的主要概念和研究方法出發(fā),對譯語讀者的能動角色和期待視野以及接受與文化交流的關(guān)系進(jìn)行分析,并結(jié)合中國古典詩歌的審美標(biāo)準(zhǔn),得到了譯者必須考慮到譯文讀者的審美能動性,選擇與原文審美構(gòu)成相適應(yīng)的審美再現(xiàn)手段的啟示。并在此基礎(chǔ)上對譯者的地位和資質(zhì)展開了討論,提出了接受理論過分強(qiáng)調(diào)以讀者為中心的局限性,從而得出在翻譯文化缺省的意象時,譯者應(yīng)確立的文化態(tài)度是促進(jìn)不同民族之間的交流與溝通,并且不僅應(yīng)具備雙語能力,更應(yīng)具備雙文化能力。 此外,本文以大量譯例分析為基礎(chǔ),對現(xiàn)有的各種處理文化缺省的方法,如直譯、加注、意譯、替換、刪除、硬譯等逐一分析其優(yōu)劣,從而為譯者選擇恰當(dāng)?shù)姆椒ǚg文化缺省的意象提供一個參考。
[Abstract]:Poetry translation is a difficult point in literary translation. In poetry, poets often use images that contain rich national culture, thus making the translation of poetic images closely related to culture. At the same time, based on the cultural background knowledge shared by the poet and his intended readers, he often omits the self-evident contents of some cultural images, thus forming the cultural default in the poetic images. This kind of situation is especially obvious in Chinese classical poetry. However, different peoples have different cultural traditions. In translation, it is difficult to achieve the kind of tacit understanding between the translator and the target reader. There are different views on how to deal with the cultural default in poetry image translation: one view is that the default cultural content in poetry translation can be ignored and the poet's intention can be directly translated; Another point of view is that the basic purpose of translation lies in the communication and communication between different nations and nations, so the default cultural content of images should be translated as far as possible. Based on the main concepts and research methods of reception theory, this paper analyzes the dynamic role and expectation of target readers and the relationship between reception and cultural exchange, and combines with the aesthetic standards of Chinese classical poetry. The author holds that the translator must take into account the aesthetic initiative of the target readers and choose the aesthetic reappearance means suitable to the aesthetic composition of the original text. On the basis of this, the author discusses the translator's status and qualifications, and points out the limitations of the reception theory, which emphasize too much on the reader-centered approach, and thus draw the conclusion that the cultural default image is translated. The cultural attitude that the translator should establish is to promote the communication and communication between different nationalities, and the translator should not only have bilingualism ability, but also bi-cultural ability. In addition, based on the analysis of a large number of examples, this paper analyzes the advantages and disadvantages of various existing methods of dealing with cultural default, such as literal translation, annotation, free translation, substitution, deletion, hard translation, etc. Therefore, it provides a reference for translators to choose appropriate ways to translate cultural default images.
【學(xué)位授予單位】：蘇州大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2007
【分類號】：I046;H315.9

【引證文獻(xiàn)】

相關(guān)碩士學(xué)位論文 前1條

1 胡蕓;從關(guān)聯(lián)—順應(yīng)理論的譯者主體性看《圍城》中文化缺省的翻譯[D];浙江大學(xué);2012年

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本文編號：1866032