本文選題：傅雷 + 《攪水女人》��； 參考：《南京師范大學(xué)》2014年碩士論文

【摘要】：傅雷先生是我國杰出的法國文學(xué)翻譯家,他幾十年如一日的從事翻譯工作,一直奮發(fā)不輟,嚴肅認真,一絲不茍。他的許多譯作已近乎達到爐火純青的境界,在國內(nèi)外贏得崇高的聲譽。傅雷先生一生譯作宏富,譯藝超絕,他創(chuàng)作了卷帙浩繁的十五卷譯文,洋洋灑灑五百萬言,是名副其實的翻譯巨匠,他的譯作構(gòu)成我國翻譯史上不朽的豐碑。他對西方文學(xué)尤其是法國文學(xué)的譯介貢獻很大,是法國文學(xué)在中國的傳播者,他主要翻譯巴爾扎克、羅曼·羅蘭等作家的作品。沒有他,就沒有巴爾扎克、羅曼·羅蘭等法國作家在中國的深遠影響。 對于翻譯,傅雷先生認為“以效果而論,翻譯應(yīng)當像臨畫一樣,所求的不在形似而在神似”。傅雷先生“重神似而不重形似”的觀點,將譯論推向新的發(fā)展階段。他的翻譯以“傳神”為特色,更兼“行文流暢,用字豐富,色彩變化”的風格。傅雷先生的譯文對于漢語的發(fā)展,對于中國文學(xué)、文化的發(fā)展起到了巨大的作用。他那嫻熟的翻譯技巧及精湛的語言藝術(shù)令人嘆服,他具有獨特的翻譯風格,以至被翻譯界譽為“傅雷體華文語言”。 但長期以來,譯界對傅譯的研究主要集中在《約翰·克利斯朵夫》、《高老頭》和《歐也妮·葛朗臺》,而忽視了同樣具有很高文學(xué)價值的《攪水女人》。因此,本文以《攪水女人》為研究對象,以傅雷的“神似說”和“行文流暢、用字豐富、色彩變化”等翻譯思想為理論依據(jù),并將傅雷翻譯的《攪水女人》與巴爾扎克的法文原著進行對比,理論與實踐相結(jié)合,論述傅雷的翻譯風格與藝術(shù)魅力。另外,將傅譯版本與高名凱的版本進行比較,運用個案研究法和比較法,將兩個版本進行對比,考察傅雷在字詞、句子上的翻譯技巧。 論文的第一章由兩小節(jié)構(gòu)成。第一小節(jié)介紹了文學(xué)經(jīng)典和翻譯文學(xué)經(jīng)典的關(guān)系,其中包括文學(xué)經(jīng)典的定義、外國文學(xué)經(jīng)典的介紹、翻譯文學(xué)經(jīng)典的定義及它對譯入語和譯出語的影響。第二小節(jié)總結(jié)了國內(nèi)學(xué)界對傅譯《攪水女人》——這部翻譯文學(xué)經(jīng)典的研究成果。 第二章分析了傅譯風格的構(gòu)成要素。傅譯《攪水女人》之所以成為翻譯文學(xué)經(jīng)典,并深受廣大讀者的喜愛,與“行文流暢,用字豐富,色彩變化”傅譯風格有莫大關(guān)系。本章介紹了傅雷的“神似說”、他對翻譯對象的選擇、對原作的理解、其藝術(shù)修養(yǎng)和學(xué)識以及翻譯經(jīng)驗對于傅譯風格形成的重要影響。 第三章論證傅雷“神似說”和傅譯風格在《攪水女人》中的具體運用。本章將傅譯本和高譯本在字詞、句子上的翻譯進行對比和分析,從中領(lǐng)略傅雷的翻譯技巧和藝術(shù)魅力。 第四章分三個小節(jié)具體分析了傅譯三大風格特色：“行文流暢”,“用字豐富”和“色彩變化”。本章結(jié)合《攪水女人》具體實例,通過傅譯本和高譯本的對比,對“行文流暢,用字豐富,色彩變化”三大傅譯風格進行闡釋和總結(jié)。 在以上分析的基礎(chǔ)上,論文得出以下結(jié)論：在“重神似而不重形似”和“譯文必須為純粹之中文”翻譯思想的指導(dǎo)下,憑借豐富的翻譯實踐和深厚的藝術(shù)修養(yǎng),在仔細篩選翻譯對象、充分理解原文的基礎(chǔ)上,傅譯作品形成了自己獨有的風格：“行文流暢,用字豐富,色彩變化”。傅譯文學(xué)經(jīng)典之所以在中國得到廣泛的閱讀,這與他獨有的翻譯風格有莫大關(guān)系。通過對傅譯文學(xué)經(jīng)典《攪水女人》翻譯技巧的剖析,我們看到傅雷將“行文流暢,用字豐富,色彩變化”作為自己的預(yù)定目標,而從傅譯本《攪水女人》來看,傅雷是自己翻譯觀點的忠實踐行者,傅譯《攪水女人》也是這十二字的最好代言之一。
[Abstract]:Mr. Fu Lei is an outstanding translator of French literature in China. He has been engaged in translation work for several decades. He has always been serious and meticulous. Many of his translations have reached the realm of pure and high quality. He has won a high reputation both at home and abroad. Mr. Fu Lei has been translated into great wealth, and the translation skill is overwhelming. The fifteen volume translation, five million words, is a real translation giant. His translation constitutes an immortal monument in the history of Chinese translation. He contributes greatly to the translation of Western literature, especially French literature. He is a disseminator of French literature in China. He mainly translations of the works of Balzac, Roman Roland and other writers. There is no profound influence of French writers such as Balzac and Roman Roland in China.
For translation, Mr. Fu Lei believes that "in terms of effect, translation should be like painting, not in the form of resemblance." Mr. Fu Lei "looks like but does not weigh the shape". The translation theory is pushed to a new stage of development. His translation is characterized by "passing God", and is more "fluent in writing, rich in words, and in color change". The translation of Mr. Fu Lei has played a great role in the development of Chinese literature and culture. His skillful translation skills and exquisite language art are impressive. He has a unique style of translation and is even known as the "Fu Lei Chinese language" by the translation community.
However, for a long time, the translation study was mainly focused on John Christophe, "high old" and "oenie greentai", and ignored the same high literary value as "churning woman". Therefore, this article takes "churn Woman >" as the research object, with Fu Lei's "divine like" and "fluent, rich words, color changes" On the basis of the theory of translation, the author compares Fu Lei's translation of "woman with water >" with the original works of Balzac, and combines theory with practice to discuss Fu Lei's translation style and artistic charm. In addition, compare the version of the translated version to Gao Mingkai's version, and compare the two versions by case study and comparison. The translation techniques of the words and sentences in the words and sentences.
The first chapter of the paper consists of two sections. The first section introduces the relationship between literary classics and translation of literary classics, including the definition of literary classics, the introduction of foreign literary classics, the definition of translation of literary classics, and its influence on the translation and translation. The second sections sum up the domestic academic circles on the "churning Woman >" in Fu translation. The achievement of the translation of literary classics.
The second chapter analyzes the elements of the style of Fu's translation. Fu's "churning water woman" has become a classic of translation literature, and is deeply loved by many readers. It has a great relationship with the translation style of "fluent writing, rich words and color changes". This chapter introduces Fu Lei's "God like theory", his choice of translation objects, understanding of the original works, and its art The important influence of accomplishment and knowledge and translation experience on the formation of Fu style.
The third chapter demonstrates the specific application of Fu Lei's "divine like theory" and Fu's translation style in the "churning woman". This chapter compares and analyses the translation of the Chinese translation and the high translation in the words and sentences, and the translation skills and artistic charm of Fu Lei.
The fourth chapter, divided into three sections, analyzes the style features of Fu translation: "smooth writing", "rich words" and "color change". This chapter combines the concrete examples of "churning water women", and through the contrast of the Fu translation and the high translations, this chapter explains and summarizes the three styles of translation of "smooth writing, rich words and color changes".
On the basis of the above analysis, the thesis draws the following conclusions: under the guidance of "heavy God like but not heavy resemblance" and "translation must be pure Chinese", with rich translation practice and profound artistic accomplishment, on the basis of careful screening of translation objects and fully understanding the original text, the translation works have formed their own unique. Style: "fluent in writing, rich in characters and change in color". The classic of Fu translation literature has been widely read in China. It has a great relationship with his unique style of translation. Through the analysis of the translation techniques of "churning water women" in the literary classics of Fu translation, we see that Fu Lei will be "fluent in writing, rich in characters and change in color" as his own Fu Lei is a faithful practitioner of his own translation of his views, which is also one of the best words for the twelve words.
【學(xué)位授予單位】：南京師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2014
【分類號】：H32;I046

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本文編號：1951062