【摘要】： 20世紀60年代以來，西方文論一直很活躍，不僅為文學研究，還為翻譯研究提供了新的視角與方法，拓展了翻譯研究的方向。在諸多西方翻譯理論中，接受美學和翻譯研究的關系最為緊密，將接受美學的主要概念和研究方法引入翻譯，從讀者的角度來探討翻譯研究的可行性與審美性，無疑是一種好方法。 姚斯是接受美學的主要創(chuàng)始人之一。他從“文學史悖論”入手，將讀者研究提升到文學研究的中心地位。姚斯接受美學中最重要的一個概念是期待視野，他自己就把它稱之為是最重要文章的“方法論頂梁柱”。姚斯后期的研究主要致力于對審美經驗的研究。他的接受美學理論對于開拓翻譯研究領域具有重要意義。 中國古詩是世界文學寶庫中的一顆璀璨的明珠。這顆明珠在熠熠生輝的外表之下，蘊涵著深厚的中國文化，使之更加光艷奪目。如何翻譯中國古詩，正確傳達詩中的文化現(xiàn)象并使之容易被英語讀者接受，成為中詩翻譯家們所面臨的問題。本文著重于中國古詩翻譯的其中一個現(xiàn)象——意象翻譯。意象不論是在中國悠久的文學歷史中，還是在文化歷史中，都占有極其重要的地位。意象是中國古詩中不可缺少的組成部分，是構成詩歌意境的磚石。意象是詩人感情、客觀物體同社會歷史背景的結合，，所以意象有著深深的中國古典文化的烙印。因此意象成為了中國悠久歷史文化的載體。意象翻譯是中國古詩翻譯的一個過程，它的翻譯效果直接影響了中詩翻譯的整體效果。 在諸多翻譯理論中，大多數(shù)忽視讀者的接受，同時沒有考慮到在翻譯過程中，譯者依據(jù)讀者的接受來選用不同的翻譯策略。而把接受美學引入翻譯理論研究中，就充分體現(xiàn)了譯者要根據(jù)譯文讀者的接受來靈活選擇相應的翻譯策略。 本文通過例子對中詩英譯中意象翻譯的方法進行歸納，同時用姚斯的接受美學理論進行解釋。根據(jù)姚斯的接受美學，對不同的翻譯策略進行分析，從譯文讀者的角度看在意象翻譯過程中，不同翻譯策略在意象意義傳達上的效果。 通過姚斯接受美學中期待視野、視野融合以及讀者作用等觀點，重新描述了中國古詩中意象的翻譯。在意象翻譯中，翻譯者應靈活運用各種翻譯方法，在正確傳達中國古詩意象中所蘊涵的深刻歷史文化含義的同時，充分考慮英語讀者的接受，以達到文化交流的目的。
[Abstract]:Since the 1960s, Western literary theory has been very active, not only for literary studies, but also for the study of translation provides a new perspective and methods, expanding the direction of translation studies. Among many western translation theories, reception aesthetics and translation studies are the most closely related. The main concepts and research methods of reception aesthetics are introduced into translation to explore the feasibility and aesthetics of translation studies from the perspective of readers. There is no doubt that it is a good way. Yao Si is one of the main founders of reception aesthetics. Starting with the Paradox of Literary History, he promoted the reader study to the central position of literary research. One of the most important concepts in Joss's receptive aesthetics is the perspective of expectation, which he himself calls the "methodological pillar" of the most important articles. The later study of Yao Si is mainly devoted to the study of aesthetic experience. His theory of reception aesthetics plays an important role in exploring the field of translation studies. Ancient Chinese poetry is a bright pearl in the treasure house of world literature. Beneath its gleaming appearance, the pearl contains profound Chinese culture, making it even more brilliant. How to translate ancient Chinese poetry, correctly convey the cultural phenomenon in poetry and make it acceptable to English readers has become a problem faced by Chinese poetry translators. This paper focuses on image translation, one of the phenomena in the translation of ancient Chinese poetry. Image plays an extremely important role in the long history of Chinese literature as well as in the history of culture. Image is an indispensable part of ancient Chinese poetry and a brick and stone that forms the artistic conception of poetry. Image is the poet's emotion, the combination of objective objects and social and historical background, so the image has a deep brand of Chinese classical culture. Therefore, the image has become the carrier of China's long history and culture. Image translation is a process of translation of ancient Chinese poetry, and its translation effect directly affects the overall effect of translation of Chinese poetry. In many translation theories, the reader's acceptance is neglected, and the translator chooses different translation strategies according to the reader's acceptance in the process of translation. The introduction of reception aesthetics into the study of translation theory fully reflects the translator's flexible choice of translation strategies according to the readers' acceptance. This paper sums up the methods of image translation in the translation of Chinese poetry from English to English, and explains it with Yao's theory of reception aesthetics. According to Yao's reception aesthetics, this paper analyzes different translation strategies, and looks at the effects of different translation strategies in the process of image translation from the perspective of the target readers. This paper redescribes the translation of images in ancient Chinese poetry from the perspectives of expectation vision, visual field fusion and reader's role in Yao's reception aesthetics. In image translation, translators should use various translation methods flexibly to correctly convey the profound historical and cultural implications contained in the image of ancient Chinese poetry, and at the same time fully consider the acceptance of English readers in order to achieve the purpose of cultural exchange.
【學位授予單位】：天津理工大學
【學位級別】：碩士
【學位授予年份】：2007
【分類號】：H315.9;I046

【引證文獻】

相關碩士學位論文 前1條

1 杜文;漢語古詩意象組合英譯中最佳關聯(lián)性的傳遞[D];湘潭大學;2008年

本文編號：2214311