傅譯《嘉爾曼—高龍巴》藝術(shù)特色研究
發(fā)布時(shí)間：2018-09-13 10:17
【摘要】：傅雷先生是我國(guó)著名的文學(xué)翻譯家、文藝評(píng)論家、美術(shù)批評(píng)家、教育家。尤其是在翻譯領(lǐng)域,給我們留下了許多不朽的翻譯作品。自從中西文化交流以來(lái),我國(guó)譯壇產(chǎn)生過(guò)不少知名的翻譯家,但以譯著豐富、譯筆優(yōu)美及影響與接受程度而言,則當(dāng)推傅雷先生為譯界代表。傅雷先生的翻譯生涯自一九二九年出國(guó)留學(xué)時(shí)期發(fā)表《圣揚(yáng)喬而夫的傳說(shuō)》起,至一九六六年文革浩劫中憤而去世止,前后經(jīng)歷三十七年,共譯出三十三部外國(guó)文藝著作,共計(jì)五百余萬(wàn)言,主要作品譯自巴爾扎克、羅曼·羅蘭、伏爾泰、梅里美等名家。除了豐富的經(jīng)典譯作之外,傅雷先生更是在翻譯理論界提出了“神似”的翻譯觀,對(duì)20世紀(jì)中國(guó)譯壇產(chǎn)生了深遠(yuǎn)的影響,直至今日,對(duì)傅譯經(jīng)典文學(xué)作品的研究仍在繼續(xù)。 自20世紀(jì)70年代以來(lái),對(duì)傅譯經(jīng)典作品的研究,主要集中在對(duì)巴爾扎克、羅曼·羅蘭、伏爾泰這三位作家的作品上,對(duì)傅譯梅里美的《嘉爾曼》和《高龍巴》論及較少,因此對(duì)其進(jìn)行研究很有價(jià)值。本文中筆者就以傅譯經(jīng)典作品《嘉爾曼-高龍巴》為研究對(duì)象,將之與鄭永慧、張冠堯、楊松河、余中先、戴望舒,這五位翻譯家的譯本作比較,探索傅雷先生翻譯過(guò)程中對(duì)詞句取舍的思考過(guò)程,展示先生運(yùn)用的翻譯技巧,揭示作品中“神似”翻譯觀的完美運(yùn)用。 本論文共分為三章,外加緒論和結(jié)論。緒論部分主要對(duì)傅雷先生的創(chuàng)作歷程進(jìn)行總結(jié),陳述論文選題的原因,并對(duì)論文的結(jié)構(gòu)進(jìn)行介紹。 第一章中,簡(jiǎn)要對(duì)“經(jīng)典”和“文學(xué)經(jīng)典”問(wèn)題在國(guó)內(nèi)外的研究情況進(jìn)行了介紹,對(duì)傅譯經(jīng)典文學(xué)作品進(jìn)行了概述,并介紹了傅雷先生是如何與法國(guó)作家梅里美的經(jīng)典小說(shuō)《嘉爾曼》、《高龍巴》相遇的,最后簡(jiǎn)要介紹了《嘉爾曼》、《高龍巴》這兩部經(jīng)典小說(shuō)在中國(guó)的譯介情況和研究情況,為下面章節(jié)中進(jìn)行文本研究打好基礎(chǔ)。 第二章中,從文本對(duì)照研究的角度出發(fā),將傅譯《嘉爾曼-高龍巴》和其他五位譯者的譯本進(jìn)行比較研究。從詞的選擇和句子的重構(gòu)這兩大方面,具體精確到單詞譯義的精當(dāng)、單詞詞類轉(zhuǎn)換的精當(dāng)、順序譯法和逆序譯法、增詞譯法、減詞譯法、分拆譯法和合并譯法、同義反譯、插入譯法、抽象與具體轉(zhuǎn)換譯法、重迭與反復(fù)譯法、行文與習(xí)語(yǔ)的譯法、狀語(yǔ)的處理方法、關(guān)系從句的處理方法、形象比喻的處理方法、感嘆詞的處理方法這十五個(gè)小節(jié)對(duì)傅譯作品中傳統(tǒng)翻譯技巧的運(yùn)用進(jìn)行了研究,讓我們看到,在傅雷先生的譯文中除了有對(duì)“神似”翻譯觀的應(yīng)用以及對(duì)譯著“行文流暢,用字豐富,色彩變化”的要求外,更多的是把傳統(tǒng)翻譯標(biāo)準(zhǔn)運(yùn)用到了極致。本章的最后還列舉了一些傅譯《嘉爾曼-高龍巴》中的誤譯和漏譯的情況,可見(jiàn),人無(wú)完人,即使是如傅雷先生一般的翻譯大家,也很難在翻譯中做到完全的“信”,值得后來(lái)者警戒與不斷改進(jìn)。 第三章中,對(duì)傅雷先生富有創(chuàng)造性的“神似”翻譯觀及對(duì)譯著“行文流暢,用字豐富,色彩變化”的要求進(jìn)行了介紹,并就它們?cè)谧g文中的運(yùn)用進(jìn)行了研究。通過(guò)六部譯文的比較研究,揭示了傅雷先生翻譯時(shí)對(duì)中文的純熟運(yùn)用以及對(duì)詞匯間細(xì)微差別的敏銳的辨別能力,展現(xiàn)了傅雷先生翻譯時(shí)并不拘泥于句子結(jié)構(gòu)形式的特點(diǎn),力求達(dá)到“神似”和“純粹之中文”。 通過(guò)以上章節(jié)的研究,本論文試圖得出以下結(jié)論：傅雷先生的“神似”翻譯觀及“行文流暢,用字豐富,色彩變化”的翻譯標(biāo)準(zhǔn)在傅譯作品中的貫徹和運(yùn)用,創(chuàng)造出了大量的翻譯經(jīng)典案例。除此之外,通過(guò)對(duì)六部譯文的比較研究,我們可以看出,傅雷先生雖然沒(méi)有留下系統(tǒng)的翻譯理論著作或是對(duì)翻譯過(guò)程的思考總結(jié),但他己把傳統(tǒng)的法譯漢翻譯標(biāo)準(zhǔn)切切實(shí)實(shí)地貫徹到了自己的翻譯實(shí)踐中去,許許多多的譯例已經(jīng)證明了傅雷先生對(duì)于傳統(tǒng)翻譯技巧的純熟運(yùn)用。本文研究的兩部小說(shuō)的作者梅里美,是一位公認(rèn)的語(yǔ)言藝術(shù)大師。在他的作品中,往往幾句話就可勾勒出一個(gè)人的精神面貌,或者他的內(nèi)心活動(dòng),所以翻譯他的作品的確是不容易的。而一部外國(guó)作品在別的國(guó)家能否產(chǎn)生影響,能產(chǎn)生多大的影響,這與翻譯家的功勞是密不可分的。在眾多譯本當(dāng)中,傅雷先生的譯本即使不算最好的,但一字一句全是譯者千錘百煉,長(zhǎng)期琢磨的結(jié)果。雖然傅雷先生更注重翻譯實(shí)踐,但他的翻譯觀滲透在他留給后人的譯作中,因此他的譯文值得我們對(duì)其進(jìn)行不斷的研究和探討。
[Abstract]:Mr. Fu Lei is a famous Chinese literary translator, literary critic, art critic and educator. Especially in the field of translation, he has left us many immortal translation works. When Mr. Twain Fu Lei was the representative of the translation circle, Mr. Fu Lei's translation career began in 1929 when he published the Legend of St. Yang Qiao-fu when he was studying abroad, and ended in anger during the Cultural Revolution in 1966. After 37 years, he translated 33 foreign literary and artistic works, totaling more than 5 million words. The main works were translated from Balza. Apart from the rich classical translations, Mr. Fu Lei put forward the concept of "miracle" in the field of translation theory, which exerted a far-reaching influence on the translation circle of China in the 20th century. Up to now, the study of Fu's classical literary works has continued.
Since the 1970s, the study of Fu's translation of classics has been mainly concentrated on the works of Balzac, Roman Roland and Voltaire, but seldom on the translation of Merrime's Carman and Gollumba. Therefore, it is of great value to study Fu's translation of classics. The object of study is to compare them with the translations of Zheng Yonghui, Zhang Guanyao, Yang Songhe, Yu Zhongxian and Dai Wangshu, to explore the process of thinking about the choice of words and sentences in Mr. Fu Lei's translation process, to demonstrate the translation techniques used by Mr. Fu, and to reveal the perfect application of the translation concept of "miraculous resemblance".
This paper is divided into three chapters, plus the introduction and conclusion. The introduction part mainly summarizes Mr. Fu Lei's creative process, states the reasons for the topic selection, and introduces the structure of the paper.
In the first chapter, the author gives a brief introduction to the study of "classics" and "literary classics" both at home and abroad, gives an overview of Fu's translation of classical literary works, and introduces how Mr. Fu Lei meets the French writer Merrime's classical novels "Carman" and "Colomba". Finally, he briefly introduces "Carman" and "Colomba". The translation and study of the two classical novels in China lay a good foundation for the text study in the following chapters.
In Chapter Two, from the perspective of text comparison, the author makes a comparative study of Fu's translation of Carman Gorongba and the other five translators. The fifteen subsections, namely, split translation and combination translation, synonym reverse translation, insertion translation, abstract and concrete translation, overlap and repetition translation, translation of lines and idioms, treatment of adverbials, treatment of relative clauses, treatment of imagery and metaphor, treatment of interjections, have improved the application of traditional translation techniques in Fu's translation works. Through the study, we can see that in Mr. Fu Lei's translation, besides the application of the concept of "miraculous" translation and the requirement of "smooth writing, abundant use of words, changing colors", the traditional translation criteria are applied to the extreme. At the end of this chapter, some mistranslations and errors in Fu's translation of "Carman-Gorongba" are listed. It can be seen from the omission that no one is perfect. Even the translators like Mr. Fu Lei can hardly achieve complete "faithfulness" in translation, which is worthy of vigilance and continuous improvement.
In the third chapter, the author introduces Mr. Fu Lei's creative translation concept of "miraculous resemblance" and his requirements for the translation of "fluent writing, abundant use of words, and color changes", and studies their application in the translation. The sharp discrimination of nuances shows that Mr. Fu Lei does not stick to the sentence structure in his translation, and strives to achieve "supernatural resemblance" and "pure Chinese".
Through the study of the above chapters, this thesis attempts to draw the following conclusions: Mr. Fu Lei's translation concept of "miraculous likeness" and the translation criteria of "fluent writing, abundant use of words, and color change" have been applied in Fu's translation works, thus creating a large number of classical translation cases. It can be seen that although Mr. Fu Lei has not left behind a systematic translation theory or a summary of his thoughts on the translation process, he has put the traditional French-Chinese translation standards into his own translation practice, and many translation examples have proved that Mr. Fu Lei is adept at using traditional translation techniques. Merrime, the author of the two novels, is a well-known master of language art. In his works, often a few words can outline a person's spiritual outlook, or his inner activities, so it is not easy to translate his works. And whether a foreign work can have an impact in other countries, how much impact can it have? Mr. Fu Lei's translation, though not the best, is the result of the translator's diligence and long-term deliberation. Although Mr. Fu Lei pays more attention to translation practice, his translation view is permeated in the translations he leaves behind, so his translation is worth our attention. It carries on the unceasing research and the discussion.
【學(xué)位授予單位】：南京師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類號(hào)】：H32;I046
本文編號(hào)：2240890
[Abstract]:Mr. Fu Lei is a famous Chinese literary translator, literary critic, art critic and educator. Especially in the field of translation, he has left us many immortal translation works. When Mr. Twain Fu Lei was the representative of the translation circle, Mr. Fu Lei's translation career began in 1929 when he published the Legend of St. Yang Qiao-fu when he was studying abroad, and ended in anger during the Cultural Revolution in 1966. After 37 years, he translated 33 foreign literary and artistic works, totaling more than 5 million words. The main works were translated from Balza. Apart from the rich classical translations, Mr. Fu Lei put forward the concept of "miracle" in the field of translation theory, which exerted a far-reaching influence on the translation circle of China in the 20th century. Up to now, the study of Fu's classical literary works has continued.
Since the 1970s, the study of Fu's translation of classics has been mainly concentrated on the works of Balzac, Roman Roland and Voltaire, but seldom on the translation of Merrime's Carman and Gollumba. Therefore, it is of great value to study Fu's translation of classics. The object of study is to compare them with the translations of Zheng Yonghui, Zhang Guanyao, Yang Songhe, Yu Zhongxian and Dai Wangshu, to explore the process of thinking about the choice of words and sentences in Mr. Fu Lei's translation process, to demonstrate the translation techniques used by Mr. Fu, and to reveal the perfect application of the translation concept of "miraculous resemblance".
This paper is divided into three chapters, plus the introduction and conclusion. The introduction part mainly summarizes Mr. Fu Lei's creative process, states the reasons for the topic selection, and introduces the structure of the paper.
In the first chapter, the author gives a brief introduction to the study of "classics" and "literary classics" both at home and abroad, gives an overview of Fu's translation of classical literary works, and introduces how Mr. Fu Lei meets the French writer Merrime's classical novels "Carman" and "Colomba". Finally, he briefly introduces "Carman" and "Colomba". The translation and study of the two classical novels in China lay a good foundation for the text study in the following chapters.
In Chapter Two, from the perspective of text comparison, the author makes a comparative study of Fu's translation of Carman Gorongba and the other five translators. The fifteen subsections, namely, split translation and combination translation, synonym reverse translation, insertion translation, abstract and concrete translation, overlap and repetition translation, translation of lines and idioms, treatment of adverbials, treatment of relative clauses, treatment of imagery and metaphor, treatment of interjections, have improved the application of traditional translation techniques in Fu's translation works. Through the study, we can see that in Mr. Fu Lei's translation, besides the application of the concept of "miraculous" translation and the requirement of "smooth writing, abundant use of words, changing colors", the traditional translation criteria are applied to the extreme. At the end of this chapter, some mistranslations and errors in Fu's translation of "Carman-Gorongba" are listed. It can be seen from the omission that no one is perfect. Even the translators like Mr. Fu Lei can hardly achieve complete "faithfulness" in translation, which is worthy of vigilance and continuous improvement.
In the third chapter, the author introduces Mr. Fu Lei's creative translation concept of "miraculous resemblance" and his requirements for the translation of "fluent writing, abundant use of words, and color changes", and studies their application in the translation. The sharp discrimination of nuances shows that Mr. Fu Lei does not stick to the sentence structure in his translation, and strives to achieve "supernatural resemblance" and "pure Chinese".
Through the study of the above chapters, this thesis attempts to draw the following conclusions: Mr. Fu Lei's translation concept of "miraculous likeness" and the translation criteria of "fluent writing, abundant use of words, and color change" have been applied in Fu's translation works, thus creating a large number of classical translation cases. It can be seen that although Mr. Fu Lei has not left behind a systematic translation theory or a summary of his thoughts on the translation process, he has put the traditional French-Chinese translation standards into his own translation practice, and many translation examples have proved that Mr. Fu Lei is adept at using traditional translation techniques. Merrime, the author of the two novels, is a well-known master of language art. In his works, often a few words can outline a person's spiritual outlook, or his inner activities, so it is not easy to translate his works. And whether a foreign work can have an impact in other countries, how much impact can it have? Mr. Fu Lei's translation, though not the best, is the result of the translator's diligence and long-term deliberation. Although Mr. Fu Lei pays more attention to translation practice, his translation view is permeated in the translations he leaves behind, so his translation is worth our attention. It carries on the unceasing research and the discussion.
【學(xué)位授予單位】：南京師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類號(hào)】：H32;I046
【參考文獻(xiàn)】
相關(guān)期刊論文 前2條
1 宋學(xué)智;許鈞;;傅雷翻譯實(shí)踐的成功路徑及其意義[J];江蘇社會(huì)科學(xué);2009年06期
2 肖紅,許鈞;試論傅雷的翻譯觀[J];四川外語(yǔ)學(xué)院學(xué)報(bào);2002年03期
，本文編號(hào)：2240890
本文鏈接：http://sikaile.net/wenyilunwen/wenxuell/2240890.html
教材專著
