從接受美學角度研究《牡丹亭》的翻譯
發(fā)布時間：2018-08-31 20:32
【摘要】：接受美學作為一種文學理論于20世紀60年代在德國興起。作為一種對傳統(tǒng)文學理論的挑戰(zhàn),它開始關(guān)注讀者而不是作者。接受美學的雙星,姚斯與伊瑟爾基于闡釋學與現(xiàn)象學提出了一些重要的概念：視閾融合、期待視野、空白點與審美距離。接受美學是一種文學理論,關(guān)于是否能將其應(yīng)用到翻譯中來,于二十世紀九十年代初已有學者開始探討接受美學理論與文學翻譯結(jié)合起來的可行性。他們將接受美學理論中的一些概念如視閾融合,“空白點”等運用到翻譯研究中來,強調(diào)了讀者在譯者翻譯過程中的“參與”和“創(chuàng)造”作用。 作為中國古典戲劇中的“瑰寶”,《牡丹亭》中亦有大量的典故、諺語、歷史人物、人名、地名以及詩詞等。在翻譯這些含義豐富的詞句時,譯者亦應(yīng)充分考慮讀者的接受能力,期待視野,審美等。該論文將接受美學理論與汪榕培的英譯本《牡丹亭》結(jié)合進行研究,利用接受美學的四個重要概念：期待視野,視閾融合,空白點,審美距離從四個角度對譯本進行分析。譯文是否滿足讀者的期待視野,主要圍繞修辭、典故、人名和地名的翻譯三個層次進行分析；創(chuàng)造盡可能多的“重合點”以實現(xiàn)目標讀者與文本的視閾融合則從語音、詞匯、句法三個層面進行研究；對文本中的“空白點”的處理在翻譯的過程中是保留還是“具體化”這是第三個方面；如何調(diào)整審美距離則注重從適應(yīng)讀者的語言習慣、文化習俗、審美三個層次展開分析。通過研究發(fā)現(xiàn),譯者在翻譯過程中充分考慮了讀者,并靈活使用多種翻譯方法如音譯、增譯、省略以及意譯和直譯等來滿足讀者的接受能力。 該項研究總共包括六個部分：引言；文獻綜述；理論框架；接受美學理論與《牡丹亭》譯本的結(jié)合；譯者在翻譯過程中采用的翻譯方法；結(jié)論。引言部分指出了論文的研究背景,研究目的,研究問題,研究方法以及研究意義。文獻綜述部分首先探究了國內(nèi)外接受美學在翻譯研究方面的應(yīng)用研究現(xiàn)狀以及關(guān)于《牡丹亭》的翻譯研究。接著指出先前研究的不足和此項研究的必要性。理論框架由三部分組成：對接受美學的簡要介紹,接受美學的一些核心概念以及該理論對文學翻譯研究方面的啟發(fā)。在理論與文本的結(jié)合部分主要探討了接受美學的思想從哪些方面體現(xiàn)在汪榕培的譯本中。接下來分析譯者在翻譯中所采用的不同翻譯方法來滿足讀者的接受能力。最后一部分結(jié)論對全文進行總結(jié),包括研究的主要成果,意義,局限之處和建議。 通過用接受美學理論對汪榕培譯本的分析,該項研究表明翻譯雖是一個由譯者完成的過程,但是一定程度上會受到目標語讀者的影響并由讀者參與其中。汪榕培在翻譯《牡丹亭》時,亦充分考慮了目標讀者。在接受美學理論的指導(dǎo)下,作者期望能夠為中國古典文學尤其是戲劇翻譯提供參考。
[Abstract]:Reception aesthetics, as a literary theory, rose in Germany in the 1960's. As a challenge to traditional literary theory, it focuses on readers rather than authors. On the basis of hermeneutics and phenomenology, the binary stars of receptive aesthetics, Yao and Iser, put forward some important concepts: the fusion of visual threshold, the horizon of expectation, the gap and the aesthetic distance. Reception aesthetics is a kind of literary theory. In the early 1990s, some scholars began to explore the feasibility of combining reception aesthetics theory with literary translation as to whether it can be applied to translation. They apply some of the concepts of receptive aesthetics, such as visual fusion and "blank spot", to translation studies, emphasizing the "participation" and "creation" of readers in the translator's translation process. As a treasure in Chinese classical drama, Peony Pavilion also contains a lot of allusions, proverbs, historical figures, names, place names and poems. In translating these rich words and expressions, the translator should also take full account of the reader's receptive ability, expectation vision, aesthetic appreciation and so on. This paper combines the reception aesthetics theory with Wang Rongpei's English translation Peony Pavilion and analyzes the translation from four angles: expectation vision, visual threshold fusion, blank spot and aesthetic distance. Whether the translation meets the expectations of the readers is mainly analyzed at the three levels of rhetoric, allusions, names and place names, while creating as many "coincidence points" as possible to realize the fusion of the target readers and the text from the perspective of pronunciation and vocabulary. The third aspect is whether the "blank spot" in the text is retained or "concretized" in the process of translation, and how to adjust the aesthetic distance from adapting to the readers' language habits and cultural customs. Three levels of aesthetic analysis. It is found that the translator takes the reader into full account in the process of translation and uses various translation methods such as transliteration, addition, ellipsis, free translation and literal translation to satisfy the reader's receptive ability. The study consists of six parts: introduction; literature review; theoretical framework; the combination of reception aesthetics theory and the translation of Peony Pavilion; the translation methods adopted by the translator in the translation process; and the conclusion. The introduction points out the research background, research purpose, research problems, research methods and research significance. In the part of literature review, the author first explores the present situation of the application of reception aesthetics in translation studies at home and abroad, as well as the translation studies on Peony Pavilion. Then it points out the deficiency of previous research and the necessity of this research. The theoretical framework consists of three parts: a brief introduction to reception aesthetics, some core concepts of reception aesthetics and its implications for literary translation studies. In the part of the combination of theory and text, the author mainly discusses which aspects of reception aesthetics are embodied in Wang Rongpei's translation. Then, the author analyzes the different translation methods adopted by the translator to satisfy the readers' receptivity. The last part summarizes the whole paper, including the main achievements, significance, limitations and suggestions. Through the analysis of Wang Rongpei's translation with the theory of reception aesthetics, the study shows that translation is a process completed by the translator, but to a certain extent, it will be influenced by the target language readers and the readers will participate in it. In translating Peony Pavilion, Wang Rongpei also fully considered the target readers. Under the guidance of the theory of reception aesthetics, the author hopes to provide reference for the translation of Chinese classical literature, especially drama.
【學位授予單位】：鄭州大學
【學位級別】：碩士
【學位授予年份】：2013
【分類號】：I046;H315.9
本文編號：2216081
[Abstract]:Reception aesthetics, as a literary theory, rose in Germany in the 1960's. As a challenge to traditional literary theory, it focuses on readers rather than authors. On the basis of hermeneutics and phenomenology, the binary stars of receptive aesthetics, Yao and Iser, put forward some important concepts: the fusion of visual threshold, the horizon of expectation, the gap and the aesthetic distance. Reception aesthetics is a kind of literary theory. In the early 1990s, some scholars began to explore the feasibility of combining reception aesthetics theory with literary translation as to whether it can be applied to translation. They apply some of the concepts of receptive aesthetics, such as visual fusion and "blank spot", to translation studies, emphasizing the "participation" and "creation" of readers in the translator's translation process. As a treasure in Chinese classical drama, Peony Pavilion also contains a lot of allusions, proverbs, historical figures, names, place names and poems. In translating these rich words and expressions, the translator should also take full account of the reader's receptive ability, expectation vision, aesthetic appreciation and so on. This paper combines the reception aesthetics theory with Wang Rongpei's English translation Peony Pavilion and analyzes the translation from four angles: expectation vision, visual threshold fusion, blank spot and aesthetic distance. Whether the translation meets the expectations of the readers is mainly analyzed at the three levels of rhetoric, allusions, names and place names, while creating as many "coincidence points" as possible to realize the fusion of the target readers and the text from the perspective of pronunciation and vocabulary. The third aspect is whether the "blank spot" in the text is retained or "concretized" in the process of translation, and how to adjust the aesthetic distance from adapting to the readers' language habits and cultural customs. Three levels of aesthetic analysis. It is found that the translator takes the reader into full account in the process of translation and uses various translation methods such as transliteration, addition, ellipsis, free translation and literal translation to satisfy the reader's receptive ability. The study consists of six parts: introduction; literature review; theoretical framework; the combination of reception aesthetics theory and the translation of Peony Pavilion; the translation methods adopted by the translator in the translation process; and the conclusion. The introduction points out the research background, research purpose, research problems, research methods and research significance. In the part of literature review, the author first explores the present situation of the application of reception aesthetics in translation studies at home and abroad, as well as the translation studies on Peony Pavilion. Then it points out the deficiency of previous research and the necessity of this research. The theoretical framework consists of three parts: a brief introduction to reception aesthetics, some core concepts of reception aesthetics and its implications for literary translation studies. In the part of the combination of theory and text, the author mainly discusses which aspects of reception aesthetics are embodied in Wang Rongpei's translation. Then, the author analyzes the different translation methods adopted by the translator to satisfy the readers' receptivity. The last part summarizes the whole paper, including the main achievements, significance, limitations and suggestions. Through the analysis of Wang Rongpei's translation with the theory of reception aesthetics, the study shows that translation is a process completed by the translator, but to a certain extent, it will be influenced by the target language readers and the readers will participate in it. In translating Peony Pavilion, Wang Rongpei also fully considered the target readers. Under the guidance of the theory of reception aesthetics, the author hopes to provide reference for the translation of Chinese classical literature, especially drama.
【學位授予單位】：鄭州大學
【學位級別】：碩士
【學位授予年份】：2013
【分類號】：I046;H315.9
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