《浮生六記》是清朝文人沈復(fù)的作品,以沈復(fù)夫婦的生活為主線,用質(zhì)樸清新的語言,描繪了一張充滿生活氣息的畫卷。從平凡而又充滿情趣的居家生活,到流浪各地的所見所聞,字里行間流露出作者獨(dú)特的生活態(tài)度、價(jià)值觀念和美學(xué)品味。在翻譯過程中,要盡可能完整地再現(xiàn)原作的美學(xué)意蘊(yùn),盡可能讓譯作能夠在譯語環(huán)境中保持長久的生命力。文學(xué)翻譯是用另一種語言把文學(xué)作品中的藝術(shù)意境和美學(xué)意蘊(yùn)傳達(dá)出來,使讀者在讀譯作時(shí)感受到原著中的美,因此審美再現(xiàn)是翻譯活動(dòng)中的一個(gè)重要環(huán)節(jié)。本文首先回顧了中西方翻譯史上翻譯美學(xué)的應(yīng)用與研究,以及翻譯美學(xué)與翻譯活動(dòng)相結(jié)合的研究,并介紹了劉宓慶翻譯美學(xué)理論的主要內(nèi)容;其次,作者對《浮生六記》的兩個(gè)英譯本,林語堂譯本和白倫、江素惠譯本進(jìn)行語言上的對比,分析異同;再次,結(jié)合劉宓慶的翻譯美學(xué),選取具有代表性的詞句,從審美客體和審美主體兩個(gè)方面分析兩個(gè)譯本如何對原作進(jìn)行審美再現(xiàn);最后,通過分析表明,翻譯美學(xué)對文學(xué)翻譯具有重要的指導(dǎo)作用。不同的譯者在翻譯過程中所采取的翻譯方法和手段因知識(shí)水平、文化背景的不同而有所差異。對原文進(jìn)行審美再現(xiàn)時(shí),林語堂傾向于意譯和歸化,而白倫江素惠傾向于直譯和異化。除此之外... 

【文章來源】：湖南師范大學(xué)湖南省 211工程院校

【文章頁數(shù)】：87 頁

【學(xué)位級別】：碩士

【文章目錄】：
Abstract
摘要
Introduction
    0.1 Research Background
    0.2 Significance of the Study
    0.3 Research Questions and Methods
    0.4 Layout of the Thesis
Chapter One Literature Review
    1.1 Previous Studies on the Translation of Six Chapters of a Floating Life
        1.1.1 Previous Studies on the Translation of Six Chapters of aFloating Life in Western Countries
        1.1.2 Previous Studies on the Translation of Six Chapters of aFloating Life in China
    1.2 Previous Studies on Translation Aesthetics at Home and Abroad
        1.2.1 Previous Studies on Translation Aesthetic Abroad
        1.2.2 Previous Studies on Translation Aesthetics at Home
    1.3 Summary of Previous Studies
Chapter Two Theoretical Framework
    2.1 Introduction of Liu Miqing’s Translation Aesthetics
    2.2 Aesthetic Object
        2.2.1 Formal System
        2.2.2 Non-formal System
    2.3 Aesthetic Subject
        2.3.1 The Restriction of the Aesthetic Object
        2.3.2 The Subjective Initiative of the Translator
    2.4 Summary
Chapter Three Studies of the Two English Versions from thePerspective of Aesthetic Object
    3.1 Aesthetic Representation of Formal System
        3.1.1 Reproduction at Sound Level
        3.1.2 Representation at Text Level
        3.1.3 Representation at Word Level
        3.1.4 Representation at Discourse Level
    3.2 Aesthetic Representation of Non-formal Systems
        3.2.1“Emotion”and“Aspiration”
        3.2.2“Image”and“Symbol”
    3.3 Summary
Chapter Four Comparison of the Two English Versions from the Perspective of the Aesthetic Subject
    4.1 The Restriction of the Aesthetic Object
        4.1.1 Translatability of the Beauty in Primitive Form
        4.1.2 Cultural Differences of Bilingualism
        4.1.3 The Difference of Time and Space in Art Appreciation
    4.2 The Subjective Initiative of the Translator
        4.2.1 Aesthetic Feeling
        4.2.2 Knowledge
        4.2.3 Capability
    4.3 Summary
Conclusion
Bibliography
Acknowledgements



本文編號(hào)：3074896