本文選題：伽達(dá)默爾闡釋學(xué) + 陶淵明詩(shī)歌　； 參考：《華中師范大學(xué)》2013年碩士論文

【摘要】：東晉著名詩(shī)人陶淵明被視為中國(guó)田園詩(shī)歌創(chuàng)始人。南朝蕭統(tǒng)對(duì)他作品的文學(xué)價(jià)值大加贊賞并率先在《文選》中對(duì)其加以收錄,而鐘嶸曾評(píng)價(jià)其為“古今隱逸詩(shī)人之宗”。之后,陶淵明的聲望日隆。對(duì)他的評(píng)論和研究甚至變成了一門(mén)專(zhuān)門(mén)的學(xué)問(wèn)-“陶學(xué)”。隨著國(guó)內(nèi)外文化交流的發(fā)展,他的作品經(jīng)由多位譯者翻譯為英文。本論文特別選擇方重1984年的譯本和汪榕培2003年的譯本為比較對(duì)象,利用伽達(dá)默爾的“理解的歷史性”和“視域融合”兩個(gè)觀點(diǎn)對(duì)兩個(gè)英譯本進(jìn)行對(duì)比和分析。兩個(gè)譯者所處的時(shí)代影響個(gè)人思維理解不同,翻譯方式不同導(dǎo)致兩個(gè)英譯本各具特色。方重的譯本情感鮮明,長(zhǎng)短句結(jié)合較多,有些地方有誤譯。汪榕培的譯本句式工整,多為長(zhǎng)句,更注意押韻,語(yǔ)言樸素。 伽達(dá)默爾認(rèn)為,不同時(shí)代的譯者會(huì)因?yàn)闀r(shí)代特點(diǎn)而具有理解的局限性,也就是理解的歷史性。因而,在理解作品的過(guò)程中,不同的譯者會(huì)帶著各自不同的視域進(jìn)入到文本的視域中。同時(shí),面對(duì)文本,譯者不可能一次性理解原文本的所有意義。因此,譯者與文本之間會(huì)進(jìn)行一場(chǎng)平等對(duì)話,進(jìn)行不斷協(xié)商與妥協(xié),最終達(dá)成某種共識(shí),即譯者與原文本之間的“視域融合”。再次,譯本最終是需要面對(duì)目標(biāo)語(yǔ)言讀者,為他們?cè)u(píng)價(jià)和接受。那么譯者在翻譯作品的過(guò)程中也需要考慮到目標(biāo)語(yǔ)言讀者的視域,那么譯者與目標(biāo)語(yǔ)言讀者之間也要求進(jìn)行對(duì)話,經(jīng)過(guò)協(xié)商以最終達(dá)成某種共識(shí),也就是譯者與目標(biāo)語(yǔ)言讀者之間的“視域融合”。 該論文從“理解的歷史性”觀點(diǎn)出發(fā)對(duì)標(biāo)題和典故的翻譯加以比較分析,說(shuō)明譯者的翻譯受其所處的歷史環(huán)境影響；以“視域融合”觀點(diǎn)為基礎(chǔ)對(duì)陶淵明詩(shī)歌的意象和疊詞的翻譯加以比較分析,說(shuō)明同一原文本會(huì)產(chǎn)生多個(gè)不同譯本以及各譯本之間的差異是原文本,譯者,目標(biāo)語(yǔ)言讀者三者之間各自視域碰撞和解的結(jié)果。同時(shí),本文對(duì)伽達(dá)默爾闡釋學(xué)的理論在翻譯研究中的合理運(yùn)用加以思考,對(duì)如何將該理論與詩(shī)詞翻譯結(jié)合起來(lái)提出建議。
[Abstract]:Tao Yuanming, a famous poet in the Eastern Jin Dynasty, was regarded as the founder of the Chinese pastoral poetry. Xiao Tong in the Southern Dynasty praised the literary value of his works and took the lead in the collection of his literary works. Zhong Rong once appraised it as the "sect of the ancient and modern recluse poets". After that, Tao Yuanming's prestige was long. His comments and studies even became a special one. With the development of cultural exchanges both at home and abroad, his works are translated into English by many translators. This thesis is particularly selected as the comparative object of the 1984 translation and Wang Rongpei's 2003 translation, and compares the two English versions by the two views of "historical understanding" and "visual integration". The two translators' time affects the understanding of personal thinking, and the different ways of translation lead to the two English versions with distinctive features. The square translation has a distinct emotion, the combination of long and short sentences is more, and some places have mistranslation. Wang Rongpei's translation sentence pattern is neat, more is a long sentence, more attention is paid to rhyme, and the language is simple.
Gadamer believes that translators in different times have the limitations of understanding because of the characteristics of the times, that is, the historicity of understanding. Therefore, in the process of understanding the works, different translators will take their different horizons into the horizon of the text. At the same time, in the face of the text, the translator can not understand the meaning of the original text in a time. Therefore, the translator and the text will engage in an equal dialogue, carry on continuous negotiation and compromise, and finally reach a certain consensus, that is, the "horizon fusion" between the translator and the original text. Again, the translation is ultimately required to face the target language readers, to evaluate and accept them. The horizon of the target language readers, then the translator and the target language readers also require dialogue, through negotiation to achieve a certain consensus, that is, the "vision fusion" between the translator and the target language reader.
This paper makes a comparative analysis of the translation of the title and allusions from the viewpoint of "historical understanding of understanding", and shows that the translator's translation is influenced by its historical environment. Based on the view of "vision fusion", the translation of the image and the superposition of Tao Yuanming's poetry is compared and analyzed, which shows that the same original text will produce a number of different versions. And the differences between the translations are the results of the respective horizon collision and reconciliation between the three readers of the original text, the translator and the target language readers. At the same time, this paper thinks about the rational use of Gadamer's Hermeneutics in the translation study, and puts forward some suggestions on how to combine the theory with the translation of poetry.
【學(xué)位授予單位】：華中師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類(lèi)號(hào)】：H315.9;I046

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