發(fā)布時間：2018-04-26 09:50

  本文選題：影視翻譯 + 譯者主體性��； 參考：《華中師范大學(xué)》2012年碩士論文

【摘要】：譯者是翻譯的主體,在翻譯過程中無論譯者怎樣追求客觀也難逃自身的“主體性”經(jīng)驗。譯者的主體性包含三個方面：能動性,受動性和為我性。哲學(xué)闡釋學(xué)、權(quán)利話語和目的論分別為這三個方面提供了理論基礎(chǔ)。 從哲學(xué)闡釋學(xué)的角度說,主體經(jīng)驗是人類認知世界的必由之路。人類的各種認知,包括對數(shù)理、科學(xué)和文學(xué)等等的理解都建立在由個體經(jīng)驗匯成的主體性經(jīng)驗之上。這就為譯者發(fā)揮主觀能動性提供了基礎(chǔ)。從話語理論的角度來說,譯者在翻譯時要受到原文語言、讀者要求和譯者所處的歷史文化背景的制約,這就是譯者受動性的主要內(nèi)容。從目的論的角度說,譯者的能動性和受動性是矛盾的兩個方面,偏重任何一方都不妥。平抑兩者矛盾的標準就是譯者的為我性。 影視翻譯有其鮮明的特征,這是因為影視欣賞首先是一個讀圖的過程而非語言輸入的過程。鏡頭語言作為影視語言重要的組成部分以其直觀性而成為了某種意義上的“世界語”,這就是人類認知具有共通性的例證,也是影視翻譯中譯者發(fā)揮主觀能動性的先決條件和重要保障�？勺g性是翻譯中另一個重要的哲學(xué)問題：從哲學(xué)的角度來看,100%的翻譯,即絕對的翻譯根本就不存在,所謂可譯性就是無限接近絕對翻譯即實現(xiàn)相對翻譯的可能性。在影視翻譯中,有了圖像作保障,合理發(fā)揮譯者的主觀能動性有可能使譯文所表達的內(nèi)容和承載的文化信息更貼近原文的內(nèi)容和信息。在影視翻譯中,創(chuàng)造性叛逆是發(fā)揮主觀能動性的重要表現(xiàn)形式,也是一種有效的翻譯策略。 探討影視翻譯中譯者的主體性也不能局限于分析其主觀能動性,還必須考慮譯者的受動性。影視翻譯究其實質(zhì)仍是文本的翻譯,因此譯者必須尊重原文的話語權(quán)；與此同時,譯者也要考慮觀眾的期待和要求；此外,譯者同樣還會受到其所處歷史文化背景的影響。 在影視翻譯中譯者何時選擇能動性和受動性同樣取決于譯者的為我性。從總體上說,影視翻譯的最終目的是豐富本民族的文化生活；有時出發(fā)于某種特殊目的,譯者甚至會考慮采用“改編”和“重寫”的策略,這些策略究竟是能動性還是受動性的體現(xiàn)也還是取決于翻譯的日的。 因此,影視翻譯中譯者主體性同樣涉及能動性、受動性和為我性三個方而,它們?nèi)叩年P(guān)系直接影響到影視翻譯中具體策略的選擇。
[Abstract]:The translator is the subject of translation, no matter how the translator pursues objectivity, he can not escape his own subjective experience. The translator's subjectivity includes three aspects: initiative, passivity and ego. Philosophical hermeneutics, discourse of right and teleology provide theoretical basis for these three aspects. From the perspective of philosophical hermeneutics, subject experience is the only way for human beings to understand the world. Human cognition, including mathematics, science and literature, is based on subjective experience. This provides the basis for the translator to exert his initiative. From the perspective of discourse theory, the translator is restricted by the language of the original text, the requirements of the reader and the historical and cultural background of the translator, which is the main content of the translator's movability. From the perspective of Skopos theory, the translator's initiative and passivity are two aspects of contradiction. The criterion of suppressing the contradiction between the two is the translator's ego. Film and TV translation has its distinctive characteristics, because film and television appreciation is first a process of reading pictures, not a process of language input. As an important part of film and television language, lens language has become "Esperanto" in a certain sense because of its intuitiveness, which is an example of the common nature of human cognition. It is also a prerequisite and an important guarantee for the translator to play his subjective role in film and television translation. Translatability is another important philosophical problem in translation: from a philosophical point of view, 100% translation, that is, absolute translation, does not exist. Translatability is infinitely close to absolute translation, that is, the possibility of realizing relative translation. In film and television translation, with the help of images, it is possible to give full play to the subjective initiative of the translator and make the content and cultural information expressed in the translation more closely to the content and information of the original text. In film and television translation, creative treason is not only an important manifestation of subjective initiative, but also an effective translation strategy. To explore the translator's subjectivity in film and television translation is not limited to the analysis of his subjective initiative, but also must consider the translator's movability. The essence of film and television translation is still the translation of the text, so the translator must respect the right to speak in the original text; at the same time, the translator should also consider the expectations and demands of the audience. In addition, the translator will also be influenced by his historical and cultural background. The translator's choice of initiative and passivity in film and television translation also depends on the translator's selfishness. Generally speaking, the ultimate aim of film and television translation is to enrich the cultural life of the people. Sometimes the translator even considers the strategies of "adaptation" and "rewriting" for a particular purpose. Whether these strategies are dynamic or reactive also depends on the day of translation. Therefore, the translator's subjectivity in film and television translation also involves three aspects: initiative, passivity and ego, and their relationship directly influences the choice of specific strategies in film and television translation.
【學(xué)位授予單位】：華中師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2012
【分類號】：H059

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