本文選題：文化霸權(quán)　切入點(diǎn)：后殖民理論　出處：《太原理工大學(xué)》2008年碩士論文　論文類型：學(xué)位論文

【摘要】： 本論文首先探討了后殖民理論和文化霸權(quán)。簡(jiǎn)而言之,后殖民主義即是文化霸權(quán)主義,它體現(xiàn)為在第三世界爭(zhēng)取到民族獨(dú)立之后一些西方國(guó)家在文化上繼續(xù)對(duì)其進(jìn)行控制。在后殖民理論中,對(duì)文化霸權(quán)的批評(píng)是一項(xiàng)重要內(nèi)容。后殖民理論形成于20世紀(jì)70年代的美國(guó),繼而傳播到歐洲以及歐美中產(chǎn)階級(jí)的學(xué)術(shù)界。在本論文中也會(huì)對(duì)后殖民理論興起的社會(huì)歷史背景、文化霸權(quán)的含義及表現(xiàn)進(jìn)行闡述。 其次,本論文從幾個(gè)層面對(duì)主題進(jìn)行了探索。第一個(gè)層面對(duì)中西文化交流狀況進(jìn)行分析。由于東西方文化的差異,人們的思想中便有了文化等級(jí)的觀念,即西方文化被視為先進(jìn)的文化而東方文化則是落后的文化。在文化交流過程中,強(qiáng)勢(shì)文化通過各種途徑向弱勢(shì)文化輸出其各種文化以達(dá)到殖民的目的,然而弱勢(shì)文化只能被動(dòng)的抵制強(qiáng)勢(shì)文化的入侵,結(jié)果導(dǎo)致其失去了自己的文化特色且陷入被強(qiáng)勢(shì)文化同化的危險(xiǎn)。第二個(gè)層面是文化霸權(quán)在翻譯中的表現(xiàn)。人們思想中的文化等級(jí)觀念使一些從事翻譯的工作人員只看重西方讀者的品位和美學(xué)標(biāo)準(zhǔn),不惜犧牲東方文化特色來(lái)迎合西方讀者。第三層面從文化霸權(quán)對(duì)文學(xué)翻譯的影響來(lái)進(jìn)行探討。文化霸權(quán)可以影響譯者對(duì)文學(xué)翻譯材料與翻譯策略的選擇,以及文學(xué)翻譯作品的接受程度。最后的一點(diǎn)也是本論文的重點(diǎn),即通過例證來(lái)對(duì)本論文主題進(jìn)行探討。在翻譯一些文學(xué)作品時(shí),西方譯者有意或者無(wú)意的表露出他們的文化屬于上等文化體系,在翻譯時(shí)優(yōu)先考慮目的語(yǔ)文化。通過對(duì)霍克斯英譯版《紅樓夢(mèng)》中具體例子的分析,表明了在文學(xué)翻譯中中西文化交流不平等現(xiàn)象的存在,也體現(xiàn)出文化霸權(quán)對(duì)文學(xué)翻譯的影響。 第三,本論文就如何消除文化霸權(quán)對(duì)文學(xué)翻譯的影響提出了一些有助于促進(jìn)發(fā)展我們的民族文化、實(shí)現(xiàn)文學(xué)翻譯中文化平等交流的可行性建議。 最后,全球化時(shí)代為不同文化的交流提供了廣闊的平臺(tái),但不可避免的對(duì)弱視文化提出了挑戰(zhàn)。本論文的研究目的和意義在于使更多的人了解到文化霸權(quán)的存在,呼吁人們重視文化霸權(quán)對(duì)文學(xué)翻譯的影響,并且喚起人們保護(hù)民族文化、建立平等文化交流的意識(shí)。 本篇論文分六個(gè)部分: 第一章從后殖民理論入手,繼而探討了文化霸權(quán)概念的起源、含義和表現(xiàn)。 第二章是對(duì)第一章的深化,從中西文化交流狀況、文化霸權(quán)對(duì)翻譯及文學(xué)翻譯的影響這幾個(gè)視角來(lái)進(jìn)行探討。 第三章詳細(xì)介紹了我國(guó)文學(xué)名著《紅樓夢(mèng)》的作者、內(nèi)容及19至20世紀(jì)的多個(gè)英譯版本。 第四章將取例霍克斯的英譯《紅樓夢(mèng)》版本,從奈達(dá)對(duì)文化的五種分類為切入點(diǎn),詳盡論述了譯者在翻譯時(shí)有意或無(wú)意體現(xiàn)出的不平等的文化交流現(xiàn)象。 第五章提出了一些保護(hù)民族文化,抵制文化霸權(quán)的可行性建議。 第六章總結(jié)全文,并闡明選題的意義。
[Abstract]:This thesis first discusses the postcolonial theory and cultural hegemony. In short, post-colonialism is cultural hegemonism. It is reflected in the continued cultural control of the third World after it gained national independence. In post-colonial theory, Criticism of cultural hegemony is an important content. Post-colonial theory was formed in 1970s in the United States, and then spread to Europe and the European and American middle class academia. The meaning and expression of cultural hegemony are expounded. Secondly, this paper explores the theme from several aspects. The first level analyzes the cultural exchange between China and the West. Because of the differences between the East and the West, people have the idea of cultural hierarchy in their thoughts. That is, the western culture is regarded as the advanced culture and the eastern culture is the backward culture. In the process of cultural exchange, the strong culture exports its various cultures to the weak culture through various channels to achieve the purpose of colonization. However, the weak culture can only passively resist the invasion of the strong culture. As a result, they lose their own cultural identity and fall into the danger of being assimilated by strong culture. The second level is the expression of cultural hegemony in translation. They value only the taste and aesthetic standards of Western readers, The third level discusses the influence of cultural hegemony on literary translation. Cultural hegemony can influence the translator's choice of literary translation materials and translation strategies. And the acceptance of literary translation works. The last point is also the focus of this paper, that is, through examples to explore the theme of this paper. In translation of some literary works, Western translators intentionally or unintentionally show that their culture belongs to the superior cultural system, giving priority to the target language culture in translation. Through the analysis of the concrete examples in Hawkes' English version of A Dream of Red Mansions, It shows the existence of inequality in cultural communication between China and the West in literary translation, and also reflects the influence of cultural hegemony on literary translation. Thirdly, this thesis puts forward some feasible suggestions on how to eliminate the influence of cultural hegemony on literary translation, which is helpful to promote the development of our national culture and to realize the equal cultural exchange in literary translation. Finally, the era of globalization provides a broad platform for the exchange of different cultures, but inevitably challenges the culture of amblyopia. The purpose and significance of this paper is to make more people understand the existence of cultural hegemony. It calls on people to attach importance to the influence of cultural hegemony on literary translation and arouse people's consciousness of protecting national culture and establishing equal cultural exchange. This paper is divided into six parts:. The first chapter begins with post-colonial theory, and then discusses the origin, meaning and expression of the concept of cultural hegemony. The second chapter is the deepening of the first chapter, from the perspective of cultural exchanges between China and the West, cultural hegemony on translation and literary translation. Chapter three introduces in detail the author and contents of the famous Chinese literary novel A Dream of Red Mansions and several English translations from 19 to 20th century. Chapter 4th takes Hawkes' English translation of A Dream of Red Mansions as a starting point from Nida's five classifications of culture and discusses in detail the unequal cultural exchange that the translator intentionally or unintentionally embodies in translation. Chapter 5th puts forward some feasible suggestions to protect national culture and resist cultural hegemony. Chapter 6th summarizes the full text and clarifies the significance of the topic.
【學(xué)位授予單位】：太原理工大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2008
【分類號(hào)】：I046

【引證文獻(xiàn)】

相關(guān)期刊論文 前1條

1 黃�，�;;后殖民主義語(yǔ)境中的翻譯相關(guān)研究[J];齊齊哈爾師范高等專科學(xué)校學(xué)報(bào);2011年01期

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本文編號(hào)：1586162