《喜福會》翻譯中的譯者主體性
發(fā)布時間：2018-09-08 10:34
【摘要】： 本文關(guān)注美國華裔文學(xué)作品《喜福會》中文翻譯中譯者主體性的體現(xiàn)。譯者主體性經(jīng)歷了從忽視到逐步重視的過程。譯者從“忠實(shí)”到體現(xiàn)“主體性”的這一地位轉(zhuǎn)變?yōu)槲膶W(xué)翻譯評論提供了全新視角。20世紀(jì)80年代末90年代初,美國華裔文學(xué)逐漸得到了中美兩國學(xué)術(shù)界的廣泛關(guān)注,由于其作品涉及的主題以及此類作品的作者所具有的特殊生活背景,讀者在閱讀此類譯著的過程中,不僅體會到了不同民族之間、文化之間存在的人類相通的共性,也通過華裔作家的筆觸感受到了中美文化和價值觀的沖突與交融。因此,美國華裔文學(xué)的翻譯在一定程度上也是文化翻譯。作為文學(xué)翻譯中連接原作與譯作、原作作者與譯作讀者的譯者在這種文化翻譯中的主體性不可避免。 《喜福會》是華裔作家譚恩美的代表作品,講述了四位中國移民母親與她們在美國出生的女兒從誤解、沖突到理解的故事,作品通過母女的沖突折射了中美文化的沖突。小說在1989年出版之時在美國獲得巨大成功。在中國內(nèi)地,1992年春風(fēng)文藝出版社出版了田青翻譯的《喜福會》,2006年上海譯文出版社邀請作家程乃珊翻譯出版了最新版本的《喜福會》。 本文通過對1992、2006年兩個譯本的對比研究,援引大量譯例,從翻譯方法層面、文化還原層面、翻譯策略層面分析《喜福會》翻譯中譯者主體性的體現(xiàn)。具體包含標(biāo)題翻譯,人名翻譯,拼音內(nèi)容的翻譯,對話內(nèi)容的翻譯,中國文化內(nèi)容的翻譯、增譯、減譯、改譯等內(nèi)容。并對兩個譯本中的誤譯進(jìn)行分析,強(qiáng)調(diào)文學(xué)翻譯中譯者主體性和忠實(shí)性的統(tǒng)一是譯者不可回避的問題,譯者主體性的客觀存在和忠實(shí)的標(biāo)準(zhǔn)并不矛盾,譯者主體性的發(fā)揮首先應(yīng)受到原作的限制。同時,呼吁翻譯批評界對體現(xiàn)譯者主體性的譯本、譯例進(jìn)行客觀評判,并期待更多、更好的美國華裔文學(xué)作品的翻譯、復(fù)譯。
[Abstract]:This paper focuses on the translator's subjectivity in the translation of the Chinese literary works Joy Luck Club. The translator's subjectivity has gone through a process from neglect to gradual attention. The translator's status from "faithfulness" to "subjectivity" provides a new perspective for literary translation criticism. In the late 1980s and early 1990s, Chinese American literature gradually received extensive attention from the academic circles of China and the United States. As a result of the themes covered by his works and the special life background of the authors of such works, the reader, in the course of reading such translated works, not only realizes the commonness of human communication among different peoples and cultures, Chinese writers also feel the conflict and blending of Chinese and American culture and values. Therefore, the translation of Chinese American literature is to some extent cultural translation. As a link between the original and the translated works in literary translation, the subjectivity of the original author and the translator of the target reader in this cultural translation is inevitable. The Joy Luck Club is the representative work of the Chinese writer Amy Tan. This paper tells the story of four Chinese immigrant mothers and their daughters born in the United States from misunderstanding, conflict to understanding. The works reflect the conflict between Chinese and American culture through the conflict of mother and daughter. The novel was a great success in the United States when it was published in 1989. In mainland China, the Spring Wind Art Publishing House published Tian Qing's translated Joy Luck Club in 1992, and in 2006 Shanghai Translation Publishing House invited Cheng Naishan to translate and publish the latest edition of "Joy Luck Club". Based on a comparative study of the two translations in 1992 and 2006, this paper cites a large number of examples to analyze the embodiment of the translator's subjectivity in the translation of the Joy Luck Club from the perspective of translation methods, cultural restoration and translation strategies. It includes title translation, name translation, Pinyin content translation, dialogue content translation, Chinese cultural content translation, addition translation, subtraction translation, translation modification and so on. Through the analysis of the mistaken translation in the two versions, it is emphasized that the unity of the translator's subjectivity and faithfulness is an unavoidable problem in literary translation, and the objective existence of the translator's subjectivity is not in contradiction with the criterion of faithfulness. First of all, the translator's subjectivity should be restricted by the original work. At the same time, the critical circle of translation is called upon to objectively judge the translation and translation examples which embody the translator's subjectivity, and to look forward to more and better translation and retranslation of Chinese American literary works.
【學(xué)位授予單位】：河北大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2007
【分類號】：I046;H315.9
本文編號：2230268
[Abstract]:This paper focuses on the translator's subjectivity in the translation of the Chinese literary works Joy Luck Club. The translator's subjectivity has gone through a process from neglect to gradual attention. The translator's status from "faithfulness" to "subjectivity" provides a new perspective for literary translation criticism. In the late 1980s and early 1990s, Chinese American literature gradually received extensive attention from the academic circles of China and the United States. As a result of the themes covered by his works and the special life background of the authors of such works, the reader, in the course of reading such translated works, not only realizes the commonness of human communication among different peoples and cultures, Chinese writers also feel the conflict and blending of Chinese and American culture and values. Therefore, the translation of Chinese American literature is to some extent cultural translation. As a link between the original and the translated works in literary translation, the subjectivity of the original author and the translator of the target reader in this cultural translation is inevitable. The Joy Luck Club is the representative work of the Chinese writer Amy Tan. This paper tells the story of four Chinese immigrant mothers and their daughters born in the United States from misunderstanding, conflict to understanding. The works reflect the conflict between Chinese and American culture through the conflict of mother and daughter. The novel was a great success in the United States when it was published in 1989. In mainland China, the Spring Wind Art Publishing House published Tian Qing's translated Joy Luck Club in 1992, and in 2006 Shanghai Translation Publishing House invited Cheng Naishan to translate and publish the latest edition of "Joy Luck Club". Based on a comparative study of the two translations in 1992 and 2006, this paper cites a large number of examples to analyze the embodiment of the translator's subjectivity in the translation of the Joy Luck Club from the perspective of translation methods, cultural restoration and translation strategies. It includes title translation, name translation, Pinyin content translation, dialogue content translation, Chinese cultural content translation, addition translation, subtraction translation, translation modification and so on. Through the analysis of the mistaken translation in the two versions, it is emphasized that the unity of the translator's subjectivity and faithfulness is an unavoidable problem in literary translation, and the objective existence of the translator's subjectivity is not in contradiction with the criterion of faithfulness. First of all, the translator's subjectivity should be restricted by the original work. At the same time, the critical circle of translation is called upon to objectively judge the translation and translation examples which embody the translator's subjectivity, and to look forward to more and better translation and retranslation of Chinese American literary works.
【學(xué)位授予單位】：河北大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2007
【分類號】：I046;H315.9
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，本文編號：2230268
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