本文選題：文學(xué)翻譯 + 陌生化�。� 參考：《華中師范大學(xué)》2014年碩士論文

【摘要】：文學(xué)翻譯區(qū)別于其他翻譯的主要特征就在于文學(xué)作品有文學(xué)性。俄國形式主義認(rèn)為,文學(xué)性就是使特定文本成為文學(xué)作品的東西。沒有了文學(xué)性,文學(xué)也就不稱其為文學(xué)了。所以在翻譯文學(xué)作品時(shí)要尤其注意文學(xué)性的翻譯。俄國形式主義學(xué)派代表人物什克洛夫斯基提出了著名的陌生化概念,他認(rèn)為正是文學(xué)作品中新穎,奇特的陌生化表達(dá)方式成就了文學(xué)的文學(xué)性,也就是文學(xué)的形式。然而在翻譯界長久以來占主導(dǎo)地位的是重內(nèi)容而輕形式的翻譯,忽視了形式的重要性,只專注于有效轉(zhuǎn)達(dá)原作的意義。近年來,有不少學(xué)者,翻譯家意識(shí)到了形式的重要性,開始慢慢倡導(dǎo)注意形式的翻譯,保留原作的陌生化。俄國形式主義認(rèn)為陌生化就是將熟悉的東西變陌生,使人們感到新奇和陌生,以此來對(duì)抗日常生活中因習(xí)慣養(yǎng)成的自動(dòng)化感知過程。這種理論運(yùn)用到翻譯中就是指譯者在翻譯時(shí)要保留原文的陌生化手法和異域特色,帶給讀者們新鮮感。除了常見的異化能達(dá)到陌生化的效果外,翻譯中達(dá)到陌生化的手段還有再創(chuàng)作。因?yàn)槿说恼J(rèn)知活動(dòng)有疲倦期,所以一味的異化也是不能讓讀者感到新奇的。 本文以著名作家康拉德的代表作《黑暗的心》的三個(gè)中譯本(分別為孫禮中,黃雨石,智量的譯本)為研究對(duì)象,從翻譯的陌生化理論出發(fā),從詞匯層面,句法層面,修辭層面和文化層面分析三部譯作,三位譯者是否在翻譯中注意到了陌生化手法的運(yùn)用,他們采取了什么樣的翻譯方法以及達(dá)到了什么樣的翻譯效果�！逗诎档男摹肥遣ㄌm籍英國著名作家約瑟夫·康拉德的代表作之一。作為現(xiàn)代主義的代表作,《黑暗的心》以其獨(dú)特的敘事結(jié)構(gòu),巧妙的情節(jié)安排,韻意豐富的修辭手法等等而聞名,具有很高的文學(xué)藝術(shù)成就。該文不論是在題材上,敘事上,結(jié)構(gòu)上,還是措辭上都具有很強(qiáng)的陌生化特點(diǎn),給人新奇的閱讀體驗(yàn)。三位譯家的譯作各有千秋,從不同的方面運(yùn)用不同的手段達(dá)到了一定的陌生化效果。綜合來講,孫禮中的譯本更自由化,較多改動(dòng),強(qiáng)調(diào)通順流暢,減輕讀者閱讀障礙,很大程度上削減了陌生化的效果；智量的譯本不論在內(nèi)容還是形式上都非常忠實(shí)于原文,較好的保留了原文的寫作特色和陌生化效果；而黃雨石的翻譯則兩者兼而有之,即有創(chuàng)造性的改動(dòng)又有一定的忠實(shí),靈活多變,抓住讀者的注意力,發(fā)揮高超的語言運(yùn)用能力創(chuàng)造性的展現(xiàn)了陌生化效果。從陌生化的角度來看,黃雨石的譯本闡釋的更好一些。本文通過探討《黑暗的心》中譯本中陌生化翻譯手法的實(shí)際應(yīng)用和效果,旨在引起更多譯者對(duì)陌生化翻譯手法的重視,使陌生化翻譯手法得到更全面更系統(tǒng)的發(fā)展。
[Abstract]:The main characteristic of literary translation differs from other translation is the literariness of literary works. Russian formalism holds that literariness is something that makes a particular text a literary work. Without literariness, literature will not be called literature. Therefore, we should pay special attention to literary translation when translating literary works. The representative figure of Russian formalism school, Shklovsky, put forward the famous concept of defamiliarization. He believed that it was the novel and strange ways of expressing strangeness in literary works that made literature literariness, that is, the form of literature. However, translation has long dominated by emphasizing content rather than form, neglecting the importance of form and focusing only on effectively conveying the meaning of the original work. In recent years, many scholars and translators have realized the importance of form and started to pay attention to the translation of form and keep the strangeness of the original. Russian formalism holds that strangeness is to make people feel strange and strange by changing familiar things into strangers in order to counter the automatic perception process formed by habit in daily life. The application of this theory to translation means that the translator should keep the strangeness and exotic features of the original text and bring the readers a fresh feeling. In addition to the common alienation can achieve the effect of defamiliarization, translation means to achieve defamiliarization and re-creation. Because human cognition activity has tiredness period, so blindly dissimilation also cannot let the reader feel strange. This paper takes three Chinese versions of Conrad's masterpiece Heart of Darkness (Sun Lizhong, Huang Rushi and Zhi Quang's versions) as the object of study, starting from the theory of defamiliarization of translation, from the lexical level and syntactic level. The rhetorical and cultural aspects of the three translations are analyzed, and whether the three translators have paid attention to the use of strangeness in the translation? What translation methods have they adopted and what translation effects have they achieved? heart of Darkness is one of the masterpieces of the famous Polish writer Joseph Conrad. As the masterpiece of modernism, Heart of Darkness is famous for its unique narrative structure, ingenious plot arrangement, rich rhetorical devices and so on. This article has strong defamiliarization characteristics in subject matter, narrative, structure and wording, giving people a novel reading experience. The three translators have their own merits and different ways to achieve a certain degree of strangeness. On the whole, Sun Lizhong's version was more liberalized, more modified, emphasized smoothness and fluency, lightened the reader's reading barrier, and greatly reduced the effect of strangeness. The version of the intellectual quantity was very faithful to the original text, both in content and in form. The writing features and strangeness of the original text are better preserved, while the translation of Huang Yu-shi has both, that is, creative changes and some faithfulness, flexibility and variety, which can catch the attention of the readers. The unfamiliarization effect is displayed creatively by exerting the superb language ability. From the angle of defamiliarization, the translation of Huang Rain Stone is better explained. By discussing the practical application and effect of defamiliarization techniques in the Chinese version of Heart of Darkness, this paper aims to attract more translators to attach importance to them and to develop them more comprehensively and systematically.
【學(xué)位授予單位】：華中師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：H315.9;I046

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