本文選題：譯者形象　切入點(diǎn)：演變　出處：《寧波大學(xué)》2014年碩士論文　論文類型：學(xué)位論文

【摘要】：翻譯是不同民族之間進(jìn)行溝通的重要工具。任何民族翻譯活動(dòng)的開展都是在一定社會(huì)歷史條件下展開的。不同時(shí)期的社會(huì)歷史和文化因素深刻的影響著譯者形象。我國(guó)的頻繁的翻譯活動(dòng)始于東漢末年的佛經(jīng)翻譯，經(jīng)歷了明末清初的科技翻譯，清末民初的西學(xué)翻譯三大高潮。在這三大翻譯高潮中，譯者扮演什么角色？社會(huì)各個(gè)階層是如何定位、評(píng)價(jià)譯者的？回答這些問題至關(guān)重要，本文將譯者置放在一個(gè)特殊的歷史時(shí)段——鴉片戰(zhàn)爭(zhēng)到五四運(yùn)動(dòng)中，梳理譯者的形象變遷，探究形象變遷背后的社會(huì)歷史理?yè)?jù)。論文共分六章，，第一章引言部分，對(duì)研究背景和研究方法予以整體陳述；第二章，文獻(xiàn)綜述，包括國(guó)內(nèi)文獻(xiàn)綜述和國(guó)外文獻(xiàn)綜述以及目前研究的不足；第三章，譯者乃“叛逆者”：鴉片戰(zhàn)爭(zhēng)到洋務(wù)運(yùn)動(dòng)中的譯者形象,梳理這一歷史時(shí)段的譯者形象，探究其形象形成的社會(huì)歷史原因；第四章為“媒婆”“假洋鬼子”“帶鐐銬的舞者”：洋務(wù)運(yùn)動(dòng)到新文化運(yùn)動(dòng)之間的譯者形象。第五章，譯者乃“普羅米修斯”：新文化運(yùn)動(dòng)到五四之后的譯者形象,梳理了這一歷史時(shí)段的譯者形象，探究譯者形象形成的社會(huì)歷史根由。第六章結(jié)論，對(duì)整篇論文進(jìn)行了總結(jié)，并指出其不足之處。 本文從歷史的維度，分階段總結(jié)了從晚清到五四時(shí)期的譯者的構(gòu)成和來(lái)源，社會(huì)各階層對(duì)譯者的歷史評(píng)價(jià)，繼而探討譯者形象演變，最終得出誘發(fā)這種演變的社會(huì)歷史原因。 本文的結(jié)論如下： 1.本文梳理了譯者形象歷史變遷的總體軌跡。就整體而言，譯者形象經(jīng)歷了從鴉片戰(zhàn)爭(zhēng)期間的“叛逆者”負(fù)面形象，洋務(wù)運(yùn)動(dòng)前后的“媒婆”“假洋鬼子”形象，到五四運(yùn)動(dòng)前后的“普羅米修斯”的正面形象。這種形象隨著社會(huì)歷史語(yǔ)境的改變緩慢發(fā)生轉(zhuǎn)變，伴隨著形象上的變化，譯者的社會(huì)地位逐步提升，其主體地位也得以突顯。 2.從譯者構(gòu)成的角度來(lái)看，在社會(huì)發(fā)展的不同階段，譯者構(gòu)成不盡相同。鴉片戰(zhàn)爭(zhēng)時(shí)期，譯者主要由封建士大夫階級(jí)及沿海地區(qū)最早和洋人接觸地區(qū)的知識(shí)分子擔(dān)任。從洋務(wù)運(yùn)動(dòng)之后，學(xué)堂的興建，使得這一時(shí)期涌現(xiàn)了各種翻譯人才，另外在這一階段出現(xiàn)了最初的買辦資產(chǎn)階級(jí)，他們是日后翻譯的主力軍。新文化到五四之間，中國(guó)的譯者主要由具有最初民族資產(chǎn)階級(jí)思想的有志之士擔(dān)任，比如當(dāng)時(shí)的維新派。各種新式學(xué)堂和翻譯館的新建，推動(dòng)了中國(guó)翻譯活動(dòng)不斷發(fā)展。 3.譯者形象變遷的原因有二：內(nèi)部原因即社會(huì)歷史語(yǔ)境、國(guó)內(nèi)的政治經(jīng)濟(jì)情況；外部原因，即中西交流的日益頻繁，促使譯者身份由負(fù)面形象到正面形象的轉(zhuǎn)變。
[Abstract]:Translation is an important tool for communication between different ethnic groups. Any national translation activities are carried out under certain social and historical conditions. Social, historical and cultural factors in different periods have a profound impact on the image of the translator. The frequent translation activities in China began with the translation of Buddhist scriptures in the late Eastern Han Dynasty. What role does the translator play in the translation of science and technology in the late Ming Dynasty and the early Qing Dynasty, and the western translation in the late Qing Dynasty and the early Republic of China? How do all levels of society position and evaluate translators? It is very important to answer these questions. This paper puts the translator in a special historical period-the Opium War to the May 4th Movement, combs the translator's image changes and explores the social and historical reasons behind the image changes. The first chapter introduces the background and methods of the research; the second chapter, the literature review, including domestic literature review and foreign literature review, as well as the deficiencies of the current research; chapter three, The translator is a "traitor": the image of the translator in the Opium War to the Westernization Movement, combing the image of the translator in this historical period, and exploring the social and historical reasons for the formation of the image; Chapter 4th is "matchmaker," "fake foreign devils," "shackled dancers": the translator's image between Westernization Movement and New Culture Movement. 5th, Prometheus: the translator's image after the May 4th Movement of the New Culture Movement. This paper combs the translator's image in this historical period, probes into the social and historical reasons for the formation of the translator's image, concludes the whole paper, and points out its shortcomings. From the perspective of history, this paper sums up the composition and source of translators from the late Qing Dynasty to the May 4th period, the historical evaluation of translators from different social strata, and then discusses the evolution of the translator's image, and finally comes to the social and historical reasons that induce this evolution. The conclusions of this paper are as follows:. 1. This paper combs the overall track of the historical changes in the image of the translator. On the whole, the image of the translator has experienced the negative image of "rebel" during the Opium War and the image of "matchmaker" "fake foreigner" before and after the Westernization Movement. To the positive image of Prometheus before and after the May 4th Movement, this image changes slowly with the change of social and historical context, and with the change of image, the translator's social status is gradually improved, and its subjective position is also highlighted. 2. From the perspective of the composition of the translator, in the different stages of social development, the composition of the translator is different. The translators were mainly composed of the feudal literati and officials and the intellectuals in the coastal areas who had the earliest contact with foreigners. After the Westernization Movement, the construction of the school led to the emergence of various translation talents during this period. In addition, the initial comprador bourgeoisie appeared at this stage, and they were the main force of translation in the future. Between the New Culture and the May 4th Movement, the translators in China were mainly those with lofty aspirations who had the original national bourgeois ideology. For example, the reformist school and the new translation hall promoted the development of translation activities in China. 3. There are two reasons for the translator's image change: the internal reasons are the social and historical context, the domestic political and economic situation, and the external reasons, that is, the increasing frequency of communication between China and the West, promote the translator's identity change from the negative image to the positive image.
【學(xué)位授予單位】：寧波大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：H315.9

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