發(fā)布時(shí)間：2018-06-25 01:01

  本文選題：中國小小說 + 接受美學(xué)��； 參考：《江西師范大學(xué)》2014年碩士論文

【摘要】：微型小說也稱小小說，是小說大家族的成員之一，崛起于20世紀(jì)80年代。如今微型小說已經(jīng)穩(wěn)穩(wěn)地立于當(dāng)今文壇，其發(fā)展速度之快，文學(xué)成就之高令人矚目。受篇幅和文體特征的影響，微型小說善用精短的手法展現(xiàn)人物和情節(jié)，講究“速率審美刺激”。其語言簡練精巧，在有限的篇幅內(nèi)加大了語言的信息量，增強(qiáng)了語言的表現(xiàn)力。在故事結(jié)構(gòu)的架構(gòu)上小小說更是講究留白的藝術(shù)，通過省略、設(shè)疑等手法拓展了讀者的想象空間，激發(fā)了讀者在閱讀過程中的主體作用。然而作為一種獨(dú)立的文學(xué)形式，以其作為語料進(jìn)行的英譯研究卻少之甚少。 20世紀(jì)60年代，大批文學(xué)批評流派和文學(xué)理論異軍突起，爭放異彩。在這股涌動的思潮中接受美學(xué)悄然誕生，它的出現(xiàn)打破了文本中心論封閉的語言系統(tǒng)，實(shí)現(xiàn)了由文本中心向讀者中心的轉(zhuǎn)移。接受美學(xué)主要闡述了讀者的定義，文本意義的未定性，文本的概念，并從美學(xué)的角度對文本和讀者之間的交互作用進(jìn)行了獨(dú)創(chuàng)性的分析。接受美學(xué)認(rèn)為，文本具有一定的開放性，文學(xué)作品的意義并不直接存在于文化背景中的作者的意圖或文本本身，而在于在讀者與文本的互動中產(chǎn)生的意義。所以它強(qiáng)調(diào)將讀者至于文學(xué)活動中不可忽視的地位，將研究的注意力從作者—文本轉(zhuǎn)向文本—讀者。其理論的根本特征就是把讀者至于文學(xué)理論、美學(xué)研究的中心。 本文重點(diǎn)是運(yùn)用接受美學(xué)理論，從“期待視野”、“召喚結(jié)構(gòu)”和“隱含讀者”三個(gè)概念出發(fā)，結(jié)合深受國內(nèi)外好評的小小說及其英譯本的實(shí)例分析，探索接受美學(xué)對小小說漢英翻譯的啟示。從期待視野的概念來看，對小小說中富有文化色彩詞語翻譯不能只局限于對文字層面的轉(zhuǎn)換。小小說文本意義的最終實(shí)現(xiàn)必須是以譯者對讀者文化心理的迎合為前提的。從召喚結(jié)構(gòu)概念來看，小小說文本在語言表達(dá)和結(jié)構(gòu)設(shè)置上的空白體現(xiàn)了其較高的文學(xué)性，也賦予譯者對原文進(jìn)行創(chuàng)造性填補(bǔ)的權(quán)利。但忽略讀者的接受水平，過分填補(bǔ)和過度留白都會使小小說的召喚性大打折扣。翻譯的過程是譯者理解文本和闡釋文本的過程，小小說講究留白的文學(xué)特性也為譯者的闡釋提供了較為廣闊的空間，但這種闡釋并不是隨心所欲毫無限制的，其譯文在很大程度上必定是取決于原文并且忠實(shí)于原文的。該研究對小小說的翻譯實(shí)踐有所啟示，拓寬了接受美學(xué)研究的范圍，是一種有意義的嘗試。
[Abstract]:Mini-fiction, also known as Xiao Shuo, is a member of the novel family, rising in the 1980 s. Nowadays, mini-fiction has been firmly established in the literary world, and its speed of development and literary achievements are remarkable. Influenced by space and stylistic features, miniature novels make good use of short techniques to show characters and plots, and pay attention to "speed aesthetic stimulation". Its language is concise and exquisite, and it increases the amount of information and the expression of language in a limited space. In the structure of the story structure, the small theory pays more attention to the art of leaving a white space. By means of ellipsis and doubt, it expands the imagination space of the reader and inspires the reader to play a major role in the process of reading. However, as an independent literary form, there is very little research on English translation with it as a corpus. In the 1960s, a large number of literary criticism schools and literary theories sprang up, competing for splendor. In this surging trend of thought reception aesthetics was born quietly which broke the closed language system of text-centered theory and realized the shift from text-centered to reader-centered. Reception aesthetics mainly expounds the definition of readers, the uncertainty of text meaning, the concept of text, and analyzes the interaction between text and readers from the perspective of aesthetics. The receptive aesthetics holds that the text is open to a certain extent, and the meaning of the literary works does not directly exist in the author's intention or the text itself in the cultural background, but lies in the meaning produced in the interaction between the reader and the text. Therefore, it emphasizes that readers should not be neglected in literary activities, and turns the attention of research from author-text to text-reader. The fundamental characteristic of its theory is that the reader is the center of literary theory and aesthetic research. The emphasis of this paper is to apply the theory of reception aesthetics, starting from the three concepts of "horizon of expectation", "summoning structure" and "implied reader", and combining the well-received small theories and their English translations with examples, which are well received both at home and abroad. Exploring the implications of reception Aesthetics for Chinese-English Translation of Xiao Shuo. From the perspective of expectation, the translation of culturally-colored words and expressions in small stories cannot be confined to the translation of words at the level of words. The ultimate realization of the meaning of Xiao-Shuo text must be based on the translator's pandering to the readers' cultural psychology. From the perspective of the concept of summoning structure, the blanks in the linguistic expression and structural setting of the Xiao-Shuo text embody its high literary quality and give the translator the right to fill in the original text creatively. But ignoring the reader's acceptance level, overfilling and overblanking can make small claims less appealing. The process of translation is the process of the translator's understanding of the text and the interpretation of the text. The literary characteristics of the small theory and the white space also provide a broad space for the translator's interpretation, but this kind of interpretation is not unlimited. To a great extent, the translation must depend on the original text and be faithful to the original text. It is a meaningful attempt to broaden the scope of the study of reception aesthetics.
【學(xué)位授予單位】：江西師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2014
【分類號】：H315.9;I046

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