作為唯美主義的代表人物,奧斯卡·王爾德用其獨(dú)特的寫(xiě)作手法傳達(dá)出特殊的美學(xué)特點(diǎn)。他的小說(shuō)《道林·格雷的畫(huà)像》于1891年首次出版,揭露了英國(guó)上流社會(huì)的生活現(xiàn)狀,彰顯出對(duì)青春貌美的看法,小說(shuō)中的環(huán)境描寫(xiě)更是淋漓盡致。由于作者獨(dú)特的思想,小說(shuō)在一開(kāi)始受到了強(qiáng)烈的抨擊,但西方學(xué)者對(duì)該小說(shuō)的研究并沒(méi)有停止。國(guó)內(nèi)對(duì)《道林·格雷的畫(huà)像》也進(jìn)行了一定的研究,該小說(shuō)的漢譯在20世紀(jì)80年代達(dá)到高潮。已有諸多學(xué)者對(duì)《道林·格雷的畫(huà)像》中的文學(xué)特點(diǎn)和翻譯現(xiàn)象進(jìn)行研究,但是從識(shí)解理論的角度對(duì)該部作品中的環(huán)境描寫(xiě)進(jìn)行探討的文章較為薄弱。識(shí)解理論由蘭蓋克提出,指人們用不同的方式對(duì)同一客觀(guān)情景進(jìn)行刻畫(huà),關(guān)注認(rèn)知主體對(duì)客觀(guān)事物的體驗(yàn)。認(rèn)知是識(shí)解理論中不可或缺的環(huán)節(jié),翻譯在本質(zhì)上也是一種認(rèn)知活動(dòng),離不開(kāi)理解和表達(dá),優(yōu)秀的譯文離不開(kāi)譯者的認(rèn)知努力。本文選取《道林·格雷的畫(huà)像》不同時(shí)期的兩個(gè)譯本作為研究文本,即1984年榮如德先生譯本和2017年孫宜學(xué)先生譯本,從蘭蓋克識(shí)解理論的四個(gè)維度:轄域和背景、視角、突顯以及詳略度,對(duì)這兩個(gè)漢譯本進(jìn)行分析。本文研究二位譯者在這些維度上進(jìn)行了怎樣的識(shí)解,出現(xiàn)了怎樣的差異,認(rèn)知主體的識(shí)解... 

【文章來(lái)源】：四川外國(guó)語(yǔ)大學(xué)重慶市

【文章頁(yè)數(shù)】：111 頁(yè)

【學(xué)位級(jí)別】：碩士

【文章目錄】：
摘要
abstract
Acknowledgements
Introduction
    0.1 Research Background
    0.2 Research Objective and Significance
    0.3 Research Methods
    0.4 Thesis Structure
Chapter One Literature Review
    1.1 Previous Studies on The Picture of Dorian Gray Abroad and at Home
    1.2 Previous Studies on Construal Theory Abroad and at Home
    1.3 Previous Studies on Translation of Environmental Descriptions
Chapter Two Theoretical Framework
    2.1 The Development of Langacker’s Construal Theory
    2.2 Four Dimensions of Langacker’s Construal Theory
        2.2.1 Scope and Background
        2.2.2 Perspective
        2.2.3 Prominence
        2.2.4 Specificity
    2.3 The Application of Langacker’s Construal Theory to Translation Studies
Chapter Three Analysis of Environmental Descriptions in Rong Rude’s and Sun Yixue’s Chinese Versions of The Picture of Dorian Gray from the Perspective of Construal Theory
    3.1 A Brief Introduction to The picture of Dorian Gray and Its Two Chinese Versions
    3.2 The Classification of Environmental Descriptions
    3.3 Analysis of Environmental Descriptions in the Two Chinese Versions of The Picture of Dorian Gray from Four Dimensions
        3.3.1 Analysis of Environmental Descriptions in the Two Chinese Versions from Scope and Background
        3.3.2 Analysis of Environmental Descriptions in the Two Chinese Versions from Perspective
        3.3.3 Analysis of Environmental Descriptions in the Two Chinese Versions from Prominence
        3.3.4 Analysis of Environmental Descriptions in the Two Chinese Versions from Specificity
Conclusion
References
Appendix



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