發(fā)布時間：2024-03-07 19:09

　　“神似”說起于中國古典美學的形神范疇,于近代進入翻譯理論,在翻譯史上產生了廣泛影響,有學者將其視作主流的中國傳統(tǒng)翻譯理論之一。然而,如果對20世紀初以來“形似派”、“神似派”的論爭和著述做一番耙梳整理,不難發(fā)現神似一說可能存在著比較嚴重的缺陷:其一是“神似”的含義模糊不清,其二是神似派對形神關系的看法有待討論,其三是神似說的部分立論方法尚可商榷。有鑒于此,其何以超越形似、成為譯論主流、造成巨大影響,也就成了需要反思的問題。本文采用勒弗維爾(Lefevere)的理論框架,從詩學與意識形態(tài)兩個角度對神似論加以文化視角的分析。在詩學的視角看,神似說受到了古代文藝理論中形神關系的影響。形與神是古典美學史上的重要范疇,形神分殊、重神輕形的審美原則深受推尊,中國古代文學藝術中,素有不重實體和形式、標舉風神與玄思的審美風尚。翻譯理論中對神似的推崇,很可能來自文藝理論的移植。從意識形態(tài)的視角看,作為翻譯話語的“神似”是意識形態(tài)性的,表現為理論表述的戰(zhàn)爭隱喻、建設理論話語的呼喚都呈現出意識形態(tài)特征,形似與神似兩派代表人物的理論與實踐,在不同歷史語境下都具有鮮明的意識形態(tài)色彩,而神似的一派更強烈地表現出對...

【文章頁數】：85 頁

【學位級別】：碩士

【文章目錄】：
摘要
Abstract
Acknowledgements
1.Introduction
    1.1 Research Background
    1.2 Research Question
    1.3 Research Methodology
    1.4 Structure of the Thesis
2.Literature Review and Theoretical Framework
    2.1 Literature Review
        2.1.1 Prior Discussions on Shensi as a Theory of Translation
        2.1.2 Shensi and Poetics
        2.1.3 Shensi and Ideology
    2.2 Theoretical Framework
3.Shensi: The Concept in Question
    3.1 The Ambiguity of Shensi
    3.2 Reflections on the Relationship between Shensi and Xingsi
    3.3 Rethinking Quantification as a Method of Establishing the Legitimacy of Shensi
    3.4 Summary
4.Shensi and Poetics
    4.1 Xing and Shen in the History of Art and Literature
    4.2 Shen as Poetic Pursuit
    4.3 Shen and Shensi:from Poetics to Theory of Translation
    4.4 Reflections on Shensi as a Poetics of Translation
    4.5 Summary
5.Shensi and Ideology
    5.1 War and Weapon as Metaphors
    5.2 Identity,Ideology and Interpellation
    5.3 Response from Lu Xun and Xu Yuanchong
        5.3.1 Lu Xun: The Ethics of Fidelity and Difference
        5.3.2 Xu Yuanchong:Shensi, Rivalry and National Pride
    5.4 Reflections on the Ideological Side of Shensi
    5.5 Summary
6. Conclusion
    6.1 Major Findings
    6.2 Limitations of This Research
    6.3 Suggestions for Future Studies
References



本文編號：3921606