本文選題：接受美學(xué)　切入點(diǎn)：《紅樓夢(mèng)》英譯　出處：《西南交通大學(xué)》2017年碩士論文　論文類型：學(xué)位論文

【摘要】：《紅樓夢(mèng)》是明清小說的巔峰之作,其翻譯研究涉及范圍廣泛、內(nèi)容多樣,其中,目前僅有的四個(gè)英文全譯本(裘里、彭壽、霍克思翁婿、楊憲益夫婦的譯本)備受關(guān)注。《孟子》作為中國(guó)傳統(tǒng)儒家經(jīng)典之作,對(duì)后世語(yǔ)言、文化發(fā)展影響深遠(yuǎn),只《紅樓夢(mèng)》中就有26處出自《孟子》的典故,足見其在《紅樓夢(mèng)》翻譯中的重要性。接受美學(xué)理論自引入翻譯研究領(lǐng)域以來,扭轉(zhuǎn)了傳統(tǒng)的以作者和文本為中心的研究范式,強(qiáng)調(diào)文本接受過程中,讀者在作者-文本-讀者關(guān)系中的中心地位,其期待視野、視域融合、文本召喚結(jié)構(gòu)等思想為本文研究提供理論支撐。本文在接受美學(xué)理論指導(dǎo)下,對(duì)比分析《紅樓夢(mèng)》四個(gè)英文全譯本中共26處《孟子》典故翻譯特點(diǎn)的差異,在此基礎(chǔ)上,進(jìn)一步探究譯者如何影響譯文翻譯特點(diǎn)差異,以期為《紅樓夢(mèng)》和《孟子》典故英譯對(duì)比研究做一點(diǎn)補(bǔ)充。分析發(fā)現(xiàn),譯文是譯者作為原作的特殊讀者為實(shí)現(xiàn)自己的期待視野與原作、讀者的期待視野與譯文相融合的結(jié)果。本文涉及的四個(gè)譯本的譯者基于各自的背景和審美經(jīng)驗(yàn),選取不同的翻譯策略,使得譯文呈現(xiàn)出不同的翻譯特點(diǎn),集中表現(xiàn)在文本召喚下譯者處理空白的差異上,豐富了譯本多樣性,具體如下:一)裘里譯本輔以大量解釋性文字,試圖填補(bǔ)文化內(nèi)涵上的空白,幫助讀者更好地理解《孟子》典故。。二)彭壽譯本力求在句法層面與原文逐字對(duì)譯且結(jié)構(gòu)一致,卻未能填補(bǔ)文化上的空白。三)霍克思翁婿譯本整體流暢,明顯以讀者為中心,重內(nèi)涵輕句法,填補(bǔ)文化空白的同時(shí)喪失句法精妙。四)楊憲益夫婦諳熟中英雙語(yǔ)和文化,剖白典故的文化內(nèi)涵,傳意深刻,卻未能填補(bǔ)句子結(jié)構(gòu)層面的空白。
[Abstract]:"A Dream of Red Mansions" is the pinnacle of the novels of the Ming and Qing dynasties. Its translation studies involve a wide range of works, including only four full English versions (July, Peng Shou, and son-in-law of Hawkes). Mencius, as a classic of Chinese traditional Confucianism, has a profound influence on the language and cultural development of later generations. In A Dream of Red Mansions alone, there are 26 stories from Mencius. It shows its importance in the translation of A Dream of Red Mansions. Since the theory of reception aesthetics was introduced into the field of translation studies, it has reversed the traditional research paradigm of author and text, and emphasized the process of text acceptance. The reader's central position in the relationship between author and text, his vision of expectation, the fusion of vision, and the structure of text call provide theoretical support for this study. Under the guidance of the theory of reception aesthetics, this paper provides a theoretical support for the study. On the basis of a contrastive analysis of the differences in the translation characteristics of 26 allusions in the four English versions of A Dream of Red Mansions, this paper explores how the translator affects the translation characteristics of the target text. The analysis shows that the translator, as the special reader of the original, is the translator in order to realize his own vision of expectation and the original work, in order to improve the translation of the English translation of "A Dream of Red Mansions" and "Mencius". Based on the translator's background and aesthetic experience, the translators choose different translation strategies, which make the translation have different translation characteristics. Focusing on the differences in the translator's handling of the blanks under the call of the text, it enriches the diversity of the translation, as follows: 1) July's version is supplemented by a large number of explanatory texts, which attempt to fill in the gaps in cultural connotations. To help readers better understand the story of Mencius. 2) Peng Shou's translation seeks to be word-for-word and structurally consistent with the original text, but fails to fill the cultural gap. 3) the son-in-law translation of Hockerson is fluent in its entirety and obviously reader-centered. Paying more attention to connotation than syntax and losing syntactic sophistication while filling cultural blanks. 4) Yang Xianyi and his wife are familiar with Chinese and English bilingualism and culture, and the cultural connotations of white allusions are profound, but they fail to fill the gaps in sentence structure.
【學(xué)位授予單位】：西南交通大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：H315.9;I046

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