本文選題：科幻小說(shuō)　切入點(diǎn)：三體　出處：《上海外國(guó)語(yǔ)大學(xué)》2017年碩士論文　論文類型：學(xué)位論文

【摘要】：《三體》憑借英譯版在雨果獎(jiǎng)獲獎(jiǎng)后,許多人欣喜于中國(guó)科幻文學(xué)向世界邁出重要一步的同時(shí),也關(guān)注到《三體》第一部英文版的翻譯。目前雖然對(duì)《三體》譯文的研究中都提到了對(duì)“文革”特殊時(shí)期術(shù)語(yǔ)和文化的解釋,但是均沒(méi)有對(duì)它進(jìn)行敘事建構(gòu)與重構(gòu)的整體性分析,有所缺憾。本文的創(chuàng)新之處在于對(duì)《三體》譯文中的“文革”敘事重構(gòu)進(jìn)行了全面且專注的分析。本文將從敘事視角進(jìn)行譯本分析。從敘事視角進(jìn)行分析與學(xué)術(shù)研究的優(yōu)勢(shì),能夠在一定程度上彌補(bǔ)現(xiàn)存理論模式(“規(guī)范理論”與“歸化與異化”)的不足。本文將從敘事重構(gòu)的時(shí)空建構(gòu),文本素材的選擇性采用,標(biāo)示式建構(gòu)和人物事件的再定位策略方面分析《三體I》英譯本的重構(gòu)方式。通過(guò)本文研究顯示,譯文與原文之間在“文革”敘事上有著明顯的差異。譯者在譯文中對(duì)“文革”敘事的歷史時(shí)空進(jìn)行了真實(shí)性建構(gòu)、并進(jìn)一步明晰了“文革”的性質(zhì)。與原文相比較,譯文對(duì)“文革”沖突中的個(gè)人敘事進(jìn)行了強(qiáng)化,有效地突出了知識(shí)分子的個(gè)人經(jīng)歷和群體經(jīng)歷。譯者通過(guò)自身的主動(dòng)定位,將自己置于一個(gè)客觀的翻譯角色中,沒(méi)有強(qiáng)調(diào)自己的華裔身份,為譯文得到更為客觀地看待提供了良好的基礎(chǔ)。譯文通過(guò)敘事重構(gòu),從文學(xué)的角度為文化大革命這個(gè)歷史概念提供了一個(gè)可供參考的版本,為中國(guó)文化與中國(guó)文學(xué)走出去提供了一個(gè)新的思路。
[Abstract]:After winning the Hugo Prize, many people are delighted that Chinese science fiction has taken an important step forward in the world. Attention has also been paid to the translation of the first English version of "three bodies". Although the current study of the translation of "three bodies" refers to the interpretation of terms and cultures in the special period of the Cultural Revolution, However, there is no overall analysis of its narrative construction and reconstruction. The innovation of this paper lies in the comprehensive and dedicated analysis of the narrative reconstruction of the Cultural Revolution in the translation of "three body". This paper will analyze the translation from the perspective of narrative, the advantages of analysis and academic research from the perspective of narrative. To some extent, it can make up for the deficiency of the existing theoretical models ("normative theory" and "domestication and alienation"). This paper analyzes the reconstruction of the English translation of "Three-body I" from the aspects of the marked construction and the repositioning strategy of character events. There are obvious differences between the translation and the original text in the narration of the Cultural Revolution. In the translation, the translator constructs the historical space and time of the narrative of the Cultural Revolution, and further clarifies the nature of the Cultural Revolution. The translation strengthens the personal narration in the conflict of the Cultural Revolution and effectively highlights the intellectual's personal and collective experiences. The translator puts himself in an objective translation role through his own initiative. The failure to emphasize one's Chinese identity provides a good basis for the translation to be viewed more objectively. Through narrative reconstruction, the translation provides a reference version for the historical concept of the Cultural Revolution from the literary point of view. It provides a new way of thinking for Chinese culture and Chinese literature.
【學(xué)位授予單位】：上海外國(guó)語(yǔ)大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：H315.9;I046

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本文編號(hào)：1608664