當前我國面臨文化發(fā)展的新局面,隨著國家對“文化走出去”戰(zhàn)略的高度重視,文學(xué)外譯研究已逐步成為翻譯領(lǐng)域的研究熱點之一,并呈方興未艾之勢。文學(xué)外譯作品作為文化傳播的有力途徑,不斷地推動著中華文化面向世界�！哆叧恰肥巧驈奈牡拇碜�,是中國鄉(xiāng)土文學(xué)中一塊華麗的瑰寶,沈從文那田園牧歌般的筆法使其極具美學(xué)研究價值。自《邊城》出版,以戴乃迭的英譯本最廣為人知。國內(nèi)外學(xué)者對《邊城》的研究較為詳盡,但多與原作的主題、文體特征、人物塑造、女性意識相關(guān),而有關(guān)其英譯的研究相對較少,基于美學(xué)角度的研究更不充分。因此,本文將以劉宓慶的翻譯美學(xué)理論為基礎(chǔ),通過文獻法、描述法和對比研究法圍繞審美客體的兩個子系統(tǒng)對戴譯進行分析,欲探索出能夠豐富譯文讀者審美體驗的翻譯策略和方法。研究圍繞三個問題展開:一、沈從文在《邊城》中呈現(xiàn)了哪些美學(xué)信息?二、在傳遞美學(xué)信息的過程中,戴乃迭的譯文有何長處與不足?三、戴乃迭在翻譯實踐中運用了哪些方法?經(jīng)研究,本文得出以下結(jié)論:一、本文從5個層次歸納了沈從文在《邊城》中呈現(xiàn)的美學(xué)信息,分別是形式系統(tǒng)中的語音、詞匯和句法層,以及非形式系統(tǒng)中的圖像和意境層。從語音角度看,文中運用了大量的擬聲...

【文章頁數(shù)】：97 頁

【學(xué)位級別】：碩士

【文章目錄】：
ACKNOWLEDGEMENTS
ABSTRACT
摘要
Chapter One INTRODUCTION
    1.1 Background of the Study
    1.2 Significance of the Study
    1.3 Research Questions and Methodology
    1.4 Structure of the Thesis
Chapter Two LITERATURE REVIEW
    2.1 Studies on the Origins of Translation Aesthetics
        2.1.1 Development of Translation Aesthetics Abroad
        2.1.2 Development of Translation Aesthetics at Home
    2.2 Previous Studies of Bian Cheng
        2.2.1 An Introduction of Bian Cheng
        2.2.2 An Introduction of Bian Cheng’s Translator
        2.2.3 An Introduction of Gladys Yang’s Translation Views
        2.2.4 Previous Studies on English Versions of Bian Cheng
        2.2.5 Deficiencies in the Previous Studies
Chapter Three THEORETICAL FOUNDATION
    3.1 Definition of Translation Aesthetics
    3.2 Aesthetic Components in Translation
        3.2.1 Translation Aesthetic Subject
        3.2.2 Translation Aesthetic Objects
    3.3 The Four Aesthetic Steps of Literary Translation
        3.3.1 Aesthetic Comprehension
        3.3.2 Aesthetic Transformation
        3.3.3 Aesthetic Improvement
        3.3.4 Aesthetic Representation
Chapter Four AESTHETIC REPRESENTATION OF BIAN CHENG IN TARGET LANGUAGE
    4.1 Aesthetic Representation in Formal System
        4.1.1 At Phonetic Level
        4.1.2 At Lexical Level
        4.1.3 At Syntactic Level
    4.2 Aesthetic Representation in Non-formal System
        4.2.1 Representation of Image
        4.2.2 Representation of Artistic Conception
Chapter Five CONCLUSION
    5.1 Major Findings
    5.2 Limitations
    5.3 Suggestions for the Further Study
REFERENCES
PUBLISHED PAPERSl



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