從模糊美學(xué)視角看漢語語言美感在《紅樓夢》翻譯中的再現(xiàn)
發(fā)布時間：2019-05-11 03:05
【摘要】： 隨著模糊美學(xué)的發(fā)展，模糊概念引入美學(xué)領(lǐng)域，模糊美成為模糊美學(xué)研究的主要對象，不確定性是模糊美的主要特點。中國古典文學(xué)體現(xiàn)了豐富的模糊美特性，翻譯的核心是語言轉(zhuǎn)換，但更應(yīng)是一種審美體驗，一種不同思維方式的轉(zhuǎn)變。 模糊性是文學(xué)語言，尤其是中國古典文學(xué)語言的一種自然屬性，其中的模糊表達方式集中體現(xiàn)了模糊美，同時對中國古典文學(xué)的賞析也體現(xiàn)了審美活動的模糊性。這種模糊美已經(jīng)引起一些譯者的研究興趣。然而，關(guān)于中國古典文學(xué)模糊審美以及其漢譯英過程中模糊美的再現(xiàn)一直缺少系統(tǒng)研究和理論指導(dǎo)。二十世紀(jì)末《模糊美學(xué)》的出版為其提供了理論指導(dǎo)，模糊美學(xué)的研究沖破了傳統(tǒng)美學(xué)的樊籬，為文學(xué)翻譯尤其是中國古典文學(xué)英譯的美學(xué)研究提供了新的視野。 基于此，本文探討了文學(xué)模糊語言的分類及其不同理論觀照下的模糊語言現(xiàn)象，以模糊美學(xué)為理論基礎(chǔ)提出了古典文學(xué)翻譯的美學(xué)原則，即再現(xiàn)原作的模糊美。在此原則指導(dǎo)下，通過對比中國古典文學(xué)《紅樓夢》英譯的不同譯本，試圖從語義、句法、語篇等層面探討原作模糊美在譯文中的再現(xiàn)與遺憾。并從接受美學(xué)的角度，提出處理模糊現(xiàn)象時應(yīng)采用譯文視野與譯文讀者期待視野部分重疊的譯法。部分重疊意味著兩種視野既有契合點，又有不同之處；譯文視野應(yīng)以讀者的期待視野為依據(jù)，同時又超越它。由于兩種視野有吻合之處，讀者不會因為譯文視野與期待視野差距過大而放棄閱讀。另外，由于兩種視野有相異點(譯文視野高于讀者期待視野)，在閱讀過程中，讀者才會主動地借助自己的想象力對未被破壞的召喚結(jié)構(gòu)進行解析。這種差距和不協(xié)調(diào)能促使讀者修正自己的期待視野，在調(diào)整和補充的過程中，提高自身的審美水平和文化敏感性。 本文共分四章。第一章：總述《紅樓夢》在中外文學(xué)史上的地位及其九種英譯本介紹。第二章：分析模糊語言是《紅樓夢》中運用非常成功的一門語言藝術(shù)，集中探討文學(xué)模糊在語義、句法和語篇三個層面的體現(xiàn)。第三章：模糊美在《紅樓夢》英譯過程中的再現(xiàn)。第四章：從語言審美生成機制角度對英漢語的不同模糊性作了敘述，并分析了這種機制差異導(dǎo)致《紅樓夢》在漢譯英過程中語言美感再現(xiàn)的遺憾。
[Abstract]:With the development of fuzzy aesthetics, fuzzy concept has been introduced into the field of aesthetics. Fuzzy beauty has become the main object of fuzzy aesthetics research, and uncertainty is the main feature of fuzzy aesthetics. Chinese classical literature embodies a wealth of fuzzy aesthetic characteristics. The core of translation is language conversion, but it should be an aesthetic experience and a transformation of different ways of thinking. Fuzziness is a natural attribute of literary language, especially Chinese classical literary language. The fuzzy expression embodies the fuzzy beauty, and the appreciation of Chinese classical literature also reflects the fuzziness of aesthetic activities. This vague beauty has aroused the interest of some translators. However, there has been a lack of systematic research and theoretical guidance on the fuzzy aesthetics of Chinese classical literature and the reproduction of fuzzy beauty in the process of translating it into English and Chinese. The publication of Fuzzy Aesthetics at the end of the 20th century provided it with theoretical guidance. The study of Fuzzy Aesthetics broke through the barriers of traditional aesthetics and provided a new field of vision for the aesthetic study of literary translation, especially the English translation of Chinese classical literature. Based on this, this paper discusses the classification of literary fuzzy language and the phenomenon of fuzzy language under different theoretical perspectives, and puts forward the aesthetic principles of classical literary translation, that is, the fuzzy beauty of reproducing the original work, on the basis of fuzzy aesthetics. Under the guidance of this principle, this paper attempts to explore the reproduction and regret of the fuzzy beauty of the original work in the translation from the semantic, syntactic and textual aspects by comparing the different versions of the Chinese classical literature A Dream of Red Mansions. From the point of view of reception aesthetics, this paper puts forward that the translation method of partially overlapping the visual field of the target text and the expectation field of the target reader should be used to deal with the vague phenomenon. Partial overlap means that there are both similarities and differences between the two horizons, and the visual field of translation should be based on the expectation vision of the readers and transcend it at the same time. Because the two horizons coincide, readers will not give up reading because of the gap between the translated vision and the expected field of vision. In addition, because the two horizons are different (the translation vision is higher than the reader's expectation vision), in the process of reading, the reader will take the initiative to analyze the undamaged calling structure with the help of his own imagination. This gap and disharmony can urge readers to correct their expectation vision and improve their aesthetic level and cultural sensitivity in the process of adjustment and supplement. This paper is divided into four chapters. The first chapter: the position of A Dream of Red Mansions in the history of Chinese and foreign literature and the introduction of nine kinds of English translations. The second chapter: the analysis of fuzzy language is a very successful language art in A Dream of Red Mansions, focusing on the embodiment of literary blurring at the semantic, syntactic and textual levels. The third chapter: the reproduction of fuzzy beauty in the process of translating A Dream of Red Mansions into English. Chapter IV: from the perspective of language aesthetic generation mechanism, this paper describes the different fuzziness of English and Chinese, and analyzes the regret that this mechanism difference leads to the reproduction of language aesthetic feeling in the process of translating A Dream of Red Mansions into English.
【學(xué)位授予單位】：中南大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2006
【分類號】：H315.9;I046
本文編號：2474199
[Abstract]:With the development of fuzzy aesthetics, fuzzy concept has been introduced into the field of aesthetics. Fuzzy beauty has become the main object of fuzzy aesthetics research, and uncertainty is the main feature of fuzzy aesthetics. Chinese classical literature embodies a wealth of fuzzy aesthetic characteristics. The core of translation is language conversion, but it should be an aesthetic experience and a transformation of different ways of thinking. Fuzziness is a natural attribute of literary language, especially Chinese classical literary language. The fuzzy expression embodies the fuzzy beauty, and the appreciation of Chinese classical literature also reflects the fuzziness of aesthetic activities. This vague beauty has aroused the interest of some translators. However, there has been a lack of systematic research and theoretical guidance on the fuzzy aesthetics of Chinese classical literature and the reproduction of fuzzy beauty in the process of translating it into English and Chinese. The publication of Fuzzy Aesthetics at the end of the 20th century provided it with theoretical guidance. The study of Fuzzy Aesthetics broke through the barriers of traditional aesthetics and provided a new field of vision for the aesthetic study of literary translation, especially the English translation of Chinese classical literature. Based on this, this paper discusses the classification of literary fuzzy language and the phenomenon of fuzzy language under different theoretical perspectives, and puts forward the aesthetic principles of classical literary translation, that is, the fuzzy beauty of reproducing the original work, on the basis of fuzzy aesthetics. Under the guidance of this principle, this paper attempts to explore the reproduction and regret of the fuzzy beauty of the original work in the translation from the semantic, syntactic and textual aspects by comparing the different versions of the Chinese classical literature A Dream of Red Mansions. From the point of view of reception aesthetics, this paper puts forward that the translation method of partially overlapping the visual field of the target text and the expectation field of the target reader should be used to deal with the vague phenomenon. Partial overlap means that there are both similarities and differences between the two horizons, and the visual field of translation should be based on the expectation vision of the readers and transcend it at the same time. Because the two horizons coincide, readers will not give up reading because of the gap between the translated vision and the expected field of vision. In addition, because the two horizons are different (the translation vision is higher than the reader's expectation vision), in the process of reading, the reader will take the initiative to analyze the undamaged calling structure with the help of his own imagination. This gap and disharmony can urge readers to correct their expectation vision and improve their aesthetic level and cultural sensitivity in the process of adjustment and supplement. This paper is divided into four chapters. The first chapter: the position of A Dream of Red Mansions in the history of Chinese and foreign literature and the introduction of nine kinds of English translations. The second chapter: the analysis of fuzzy language is a very successful language art in A Dream of Red Mansions, focusing on the embodiment of literary blurring at the semantic, syntactic and textual levels. The third chapter: the reproduction of fuzzy beauty in the process of translating A Dream of Red Mansions into English. Chapter IV: from the perspective of language aesthetic generation mechanism, this paper describes the different fuzziness of English and Chinese, and analyzes the regret that this mechanism difference leads to the reproduction of language aesthetic feeling in the process of translating A Dream of Red Mansions into English.
【學(xué)位授予單位】：中南大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2006
【分類號】：H315.9;I046
【引證文獻】
相關(guān)期刊論文 前1條
1 戴艷云;;論《紅樓夢》中模糊人物意象美在楊譯本中的再現(xiàn)[J];滁州學(xué)院學(xué)報;2008年04期
，本文編號：2474199
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