本文選題：譯者主體性 + 創(chuàng)造性叛逆��； 參考：《武漢理工大學》2005年碩士論文

【摘要】：本文以譯者的主體性為視角出發(fā)點,探討文學翻譯中的創(chuàng)造性叛逆,進一步深化了翻譯領域這一全新的理念。 本文闡述了作者、譯者、讀者三者之間的相互關系,以及作者、原作、譯者、譯作和讀者之間的關系;而譯者的主體性和文學翻譯的創(chuàng)造性叛逆主要從這兩個關系層面展開,除此之外文學翻譯的創(chuàng)造性叛逆還與接受語境有關。 譯者主體性地位的確立經(jīng)歷了一個長期的過程。在傳統(tǒng)的翻譯觀中,譯者經(jīng)常被看作是“仆人”,既要忠實于作者,又要忠實于讀者,人們要求譯者“透明”或譯作“透明化”。而在翻譯實踐中,由于語言與文化之間的差異,翻譯本身的局限性以及意義的不穩(wěn)定性,譯者很難做到完全忠實于原作,這就促使了翻譯研究轉(zhuǎn)向譯者的主體性,而闡釋學是最早研究主體的學說。 從現(xiàn)代闡釋學的觀點看,翻譯過程是譯者理解和闡釋的過程。譯者首先是一個讀者、闡釋者,捌有自己的“先結(jié)構”和“前理解”,他對原作的闡釋和理解是一個積極主動的過程,受到其所處時代文化與語言的影響,具有獨特性,因此譯作不可能完全忠實于原作,也不存在絕對客觀的譯作。因而,翻譯研究逐漸轉(zhuǎn)向譯者——這個翻譯過程中最活躍、積極的因素。 譯者主體性在翻譯中的表現(xiàn)主要是,個性化翻譯、誤譯和漏譯、節(jié)譯和編譯、轉(zhuǎn)譯和改編。文學翻譯的創(chuàng)造性叛逆也主要表現(xiàn)在這四個方面。 除了譯者主體性以外,文學翻譯的創(chuàng)造性叛逆還受讀者和接受語境的影響。一部文學作品如果沒有讀者就不能稱之為作品,譯者完成的譯作,在讀者閱讀和接受的過程中也會產(chǎn)生些許變形,這種變形在一定程度上也是一種創(chuàng)造性叛逆,因此同一個原作在同一時期會有不同的譯作,不同的讀者接受不同的譯作,這在某一程度上也擴大了文學翻譯的創(chuàng)造性叛逆。 一部文學作品雖然它的文字和內(nèi)容沒有改變,但是其翻譯作品的語言,風格
[Abstract]:From the perspective of the translator's subjectivity, this paper explores creative treason in literary translation, which further deepens the new concept of translation. This paper expounds the relationship among author, translator and reader, as well as the relationship between author, original work, translator, translator and reader, while the subjectivity of translator and creative treason in literary translation are mainly carried out from these two levels. In addition, the creative treason in literary translation is also related to the context of acceptance. The establishment of the translator's subjectivity has gone through a long process. In the traditional view of translation, translators are often regarded as "servants", who are not only faithful to the author but also to the reader, and are required to be "transparent" or "transparent" in translation. However, in translation practice, due to the differences between language and culture, the limitations of translation itself and the instability of meaning, it is very difficult for the translator to be completely faithful to the original work, which makes translation studies turn to the translator's subjectivity. Hermeneutics is the earliest theory of the subject. From the perspective of modern hermeneutics, translation is the process of translator's understanding and interpretation. First of all, the translator is a reader and interpreter. He has his own "pre-structure" and "pre-understanding". His interpretation and understanding of the original work is a proactive process, which is influenced by the culture and language of his time and is unique. Therefore, the translation can not be completely faithful to the original, and there is no absolute objective translation. As a result, translation studies have gradually shifted to the translator, the most active and positive factor in the process of translation. The main manifestations of translator subjectivity in translation are individualized translation, mistranslation and omission, translation and translation, translation and adaptation. The creative treason in literary translation is also manifested in these four aspects. Besides the translator's subjectivity, the creative treason of literary translation is also influenced by readers and receptive contexts. A literary work can not be called a work without readers. The translator's translation will also produce some deformation in the process of readers' reading and acceptance. This kind of deformation is also a kind of creative treason to a certain extent. Therefore, the same original works will have different translations in the same period, and different readers will accept different translations, which to some extent expands the creative treason of literary translation. Although the text and content of a literary work have not changed, the language and style of its translation work
【學位授予單位】：武漢理工大學
【學位級別】：碩士
【學位授予年份】：2005
【分類號】：I046

【引證文獻】

相關碩士學位論文 前2條

1 陳晶晶;文學翻譯的創(chuàng)造性叛逆[D];遼寧師范大學;2006年

2 徐康康;跨文化語境下文學翻譯之創(chuàng)造性叛逆研究[D];中國石油大學;2008年

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本文編號：2085470