作為一門研究理解和解釋的學(xué)科,闡釋學(xué)與翻譯學(xué)有著密不可分的聯(lián)系。20世紀(jì)90年代翻譯學(xué)的“文化轉(zhuǎn)向”使得譯者地位凸顯。譯者作為歷史性的存在,在理解翻譯原文時(shí)必定會(huì)受到其所在的歷史-文化語(yǔ)境的影響,從而在一定程度上造成對(duì)原文或原作者寫作意圖的背離。承認(rèn)對(duì)原作叛逆的歷史性存在并對(duì)該存在加以描述和原因分析,便產(chǎn)生了創(chuàng)造性叛逆研究。20世紀(jì)70年代,以海德格爾和伽達(dá)默爾為代表的哲學(xué)闡釋學(xué)打破了主客體的二元對(duì)立關(guān)系。“偏見”、“視域融合”、“理解的歷史性”等核心概念的提出使得闡釋者的主觀能動(dòng)性彰顯�？梢�,哲學(xué)闡釋學(xué)與創(chuàng)造性叛逆有很大的共通之處。喬治·斯坦納以哲學(xué)闡釋學(xué)為基礎(chǔ),提出的闡釋運(yùn)作理論更是為解釋翻譯過(guò)程中譯者的主體性提供合理的哲學(xué)性解釋。他將翻譯過(guò)程分為四個(gè)階段:信賴、侵入、吸收和補(bǔ)償,證明翻譯的本質(zhì)其實(shí)就是譯者發(fā)揮主觀能動(dòng)性進(jìn)行解釋和闡釋的過(guò)程。因此以喬治·斯坦納闡釋運(yùn)作理論為理論基礎(chǔ),研究譯者的創(chuàng)造性叛逆現(xiàn)象具有可行性�！肚嚆~葵花》英譯本是由英國(guó)著名漢學(xué)家汪海嵐翻譯的。作為一部?jī)和膶W(xué)作品,兒童讀者無(wú)論是在年齡,認(rèn)知還是語(yǔ)言水平上都具有特殊性,這使得譯者為保證兒童讀者的理解,在翻譯過(guò)...

【文章頁(yè)數(shù)】：116 頁(yè)

【學(xué)位級(jí)別】：碩士

【文章目錄】：
Abstract
摘要
Chapter 1 Introduction
    1 .1 Research Background
    1.2 Research Significance
    1.3 Research Questions
    1.4 Research Methodology
    1.5 Layout of the Thesis
Chapter 2 Literature Review
    2.1 Previous Studies on Creative Treason
        2.1.1 Studies on Creative Treason Abroad
        2.1.2 Studies on Creative Treason in China
        2.1.3 Summary of Previous Studies on Creative Treason
    2.2 Previous Studies on the English Version Bronze and Sunflower
Chapter 3 Theoretical Framework
    3.1 The Origin and Development of Hermeneutics
    3.2 The Relationship between Hermeneutics and Translation Studies
    3.3 George Steiner's Hermeneutic Motion
        3.3.1 Trust
        3.3.2 Aggression
        3.3.3 Incorporation
        3.3.4 Restitution
    3.4 George Steiner's Hermeneutic Motion and Creative Treason
Chapter 4 The Translator's Creative Treason as Manifested in the EnglishVersion Bronze and Sunflower
    4.1 Qingtong Kuihua and its English Version Bronze and Sunflower
    4.2 The Translator's Creative Treason in Bronze and Sunflower
        4.2.1 The Translator's Creative Treason Embodied in Trust
            4.2.1.1 Trust Based on Linguistic Proficiency and Translation Experience
            4.2.1.2 Trust Based on Translation Views and Cultural Consciousness
        4.2.2 The Translator's Creative Treason Embodied in Aggression
            4.2.2.1 Aggression against Paragraph Structure:Adjustments for Rhythm
            4.2.2.2 Aggression against Repetitive Expressions:Omission for Readers'Reading Habits
            4.2.2.3 Aggression against Text:Addition for Translator's IndividualInterpretation
            4.2.2.4 Aggression against Polysemy:Mistranslation for CulturalConsciousness
        4.2.3 The Translator's Creative Treason Embodied in Incorporation
            4.2.3.1 Incorporation in Meaning:Domestication
                4.2.3.1.1 Domestication of Characters'Names
                4.2.3.1.2 Domestication of Culture-loaded Words
            4.2.3.2 Incorporation in Form:Foreignization
        4.2.4 The Translator's Creative Treason Embodied in Restitution
            4.2.4.1 Restitution at Linguistic Level by Addition
                4.2.4.1.1 Lexical Compensation
                4.2.4.1.2 Grammatical Compensation
                4.2.4.1.3 Textual Compensation
            4.2.4.2 Restitution at Aesthetic Level
                4.2.4.2.1 Compensation for Aesthetic Function
                4.2.4.2.2 Compensation for Aesthetic Value
    4.3 Summary
Chapter 5 Conclusion
Bibliography
Acknowledgements
學(xué)位論文評(píng)閱及答辯情況表



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