本文選題：性別主義翻譯理論 + 《啼笑皆非》��； 參考：《浙江財(cái)經(jīng)大學(xué)》2017年碩士論文

【摘要】：自其1943年誕生于二戰(zhàn)的炮火中以來,Between Tears and Laughter作為林語堂最具影響力和最富爭議的作品之一在西方社會引發(fā)了巨大的回響,而其中所涉及的針對國際政局的尖銳批評和對中國在二戰(zhàn)期間所遭受的不公平待遇的深刻描寫更是使其飽受爭議。為了進(jìn)一步宣傳其個(gè)人的政治理想并同時(shí)喚醒尚處于迷茫困頓中的中國同胞,林語堂親自翻譯了前十一章的內(nèi)容并邀請時(shí)任《西方文學(xué)》雜志主編的徐誠斌代為翻譯其余章節(jié)。1945年,作為臺灣最具影響力和最為高產(chǎn)的女性譯者宋碧云出于個(gè)人喜愛也將原作譯成中文。但是,由于作品內(nèi)容的政治敏感性和林語堂本人在國內(nèi)文壇長期所處的尷尬境況,這兩部中文譯作在發(fā)行后不久雙雙陷入爭議的泥沼,而針對其所開展的相關(guān)研究也長期出于停滯狀態(tài)。雖然這一窘?jīng)r在上世紀(jì)七十年代后期已逐步得到緩解,但相關(guān)研究仍舊寥寥無幾,乏善可陳。在這些為數(shù)不多的研究中,大多學(xué)者僅將目光置于林語堂自譯本、林氏翻譯美學(xué)及其相關(guān)話題之上,并未將其中所蘊(yùn)含的性別特質(zhì)和政治因素納入考量。與此同時(shí),針對林語堂自譯本和宋碧云他譯本的平行對比研究也是少之又少。因而,基于性別主義譯論視角的《啼笑皆非》漢譯本對比研究大有可為。本文基于性別主義翻譯理論,針對Between Tears and Laughter原作及其漢語自譯本和他譯本展開對比研究,并借助語料庫軟件從最具代表性的“增補(bǔ)”、“前言腳注”以及“劫持”三個(gè)方面試圖探究自譯作品和他譯作品的異同之處。從性別主義譯論視角入手,本文將翻譯視作陽性譯者身份(或男性參與者身份)與陰性譯者身份“結(jié)合”而生的全新作品,認(rèn)為翻譯作品必然與譯者文化水平、生理性別、翻譯目的、政治立場和其所處的特定歷史社會環(huán)境緊密相關(guān)。除卻自譯者和他譯者所共有的“雌雄同體”的身份以及翻譯過程中自然存在的“譯者的陰性占有欲望”,自譯者的翻譯作品似乎顯得更為言簡意豐、無所限制,在遣詞酌句和作品呈現(xiàn)上更是竭力為其翻譯目的服務(wù),極具情感煽動力。而他譯作品則因譯者所處特定時(shí)期政治局勢和社會現(xiàn)實(shí)影響,在言語表述上略顯“異化”,一詞一句皆竭力遵循原語慣習(xí),然而在內(nèi)容篩選上則時(shí)刻以“寫作計(jì)劃”為第一導(dǎo)向,力求文意在目的語境中的去政治化再現(xiàn)。相較于自譯者對作品的苛求完美,他譯者的主觀能動性則不可避免地受到周遭政治現(xiàn)實(shí)的影響,正因如此,其譯作也就自然成為只為某種特定“寫作計(jì)劃”服務(wù)的定制品。
[Abstract]:Since its birth in 1943, during the gunfire of World War II, between ears and Laurence, one of Lin Yutang's most influential and controversial works, has generated a huge echo in Western society. The sharp criticism of international politics and the deep description of China's unfair treatment during World War II make it controversial. In order to further promote their personal political ideals and at the same time awaken their fellow Chinese, who are still in a state of confusion, Lin Yutang personally translated the first 11 chapters and invited Xu Chengbin, then editor-in-chief of the magazine, to translate the rest of the chapters. Song Biyun, Taiwan's most influential and prolific female translator, translated the original into Chinese for personal love. However, due to the political sensitivity of the content of the works and the awkward situation Lin Yutang himself has been in the domestic literary world for a long time, both of these two Chinese translations were bogged down in controversy shortly after their publication. The related research on it is also out of stagnation for a long time. Although this dilemma was gradually alleviated in the late 1970s, there are few and few studies. In these few studies, most scholars only focus on the Lin Yutang self-translation, Lin's translation aesthetics and related topics, and does not take into account the gender characteristics and political factors involved. At the same time, there are few parallel contrastive studies on Lin Yutang and Song Biyun. Therefore, the contrastive study of the Chinese translation of "ironic" from the perspective of sexist translation theory is promising. Based on the theory of sexist translation, this paper makes a comparative study of the original Chinese version of Between years and daughter and its Chinese self-translation and his translation, and makes use of the corpus software to study the most representative "supplement". The foreword footnote and hijack attempt to explore the similarities and differences between the self-translated works and his translated works. From the perspective of sexist translation theory, this paper regards translation as a new work which is produced by the combination of positive translator identity (or male participant identity) and negative translator identity, and holds that translation works must be related to the translator's cultural level and physiological gender. Translation purpose, political position and its specific historical and social environment are closely related. Apart from the "androgynous" identity shared by the translator and his translator, and the natural "negative desire of the translator" in the process of translation, it seems that the translation works of the self-translator seem to be more concise and unlimited. In the selection of words and the presentation of works is to serve its translation purposes, emotional incitement. However, because of the political situation and social reality in the translator's particular period of time, his translation works are slightly "dissimilated" in terms of speech expression, and every word tries its best to follow the idiom of the source language. However, in the selection of content, the "writing plan" is always taken as the first direction, and the depoliticized reproduction of the meaning in the context of purpose is sought. Compared with the self-imposed perfection of the work, the subjective initiative of his translator is inevitably influenced by the political reality around him. Therefore, his translation naturally becomes a definite product which serves only a certain "writing plan".
【學(xué)位授予單位】：浙江財(cái)經(jīng)大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：H315.9;I046

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