本文關(guān)鍵詞：順應(yīng)論視角下《牡丹亭》英譯之創(chuàng)造性叛逆現(xiàn)象研究　出處：《湖南大學(xué)》2011年碩士論文　論文類型：學(xué)位論文

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【摘要】：長久以來，在翻譯界，我們一直把“忠實(shí)”奉為翻譯實(shí)踐中的終極標(biāo)準(zhǔn)。然而，在很多情況下，盡管我們?yōu)榱诉_(dá)到此目標(biāo)而竭盡了全力，情況卻依然不容樂觀。那么究竟怎樣才能使譯者能夠更準(zhǔn)確地傳達(dá)原文的信息和意境呢？除了“忠實(shí)”以外，翻譯是不是還存在一些別的現(xiàn)象和標(biāo)準(zhǔn)呢？本文試圖對這些問題做一些嘗試性的探討和分析，以此來使讀者更加準(zhǔn)確地理解翻譯中存在的一些客觀現(xiàn)象并對翻譯標(biāo)準(zhǔn)有一些新的理解。此外，它使我們更加關(guān)注譯者的主體創(chuàng)造性，承認(rèn)譯者在翻譯活動(dòng)中所做的成果和貢獻(xiàn)。 此論文試圖從順應(yīng)論角度對我國古典戲劇奇葩—《牡丹亭》英譯過程中的創(chuàng)造性叛逆現(xiàn)象做一嘗試性分析。創(chuàng)造性叛逆，首先是由法國比較文學(xué)學(xué)者埃斯卡皮于1958年所提出的。創(chuàng)造性指的是譯者為重現(xiàn)原作藝術(shù)魅力而所作的主觀努力，而叛逆性則是指由于各種因素而造成的譯作對原作的客觀背離。由于文學(xué)翻譯一些獨(dú)特的特點(diǎn)及美學(xué)價(jià)值等因素，創(chuàng)造性叛逆在文學(xué)翻譯中表現(xiàn)得尤為明顯。作為中國古典戲劇的優(yōu)秀代表之一，《牡丹亭》自然而然地帶有中國傳統(tǒng)文化的印記，那么這些獨(dú)特的文化意境在翻譯過程中發(fā)生了哪些創(chuàng)造性叛逆？為什么會出現(xiàn)這些創(chuàng)造性叛逆現(xiàn)象呢？本論文立足于這些研究問題，試圖通過對原文和譯文（汪榕培譯本）的對比，來歸納這些創(chuàng)造性叛逆現(xiàn)象并在順應(yīng)論的框架下對這些現(xiàn)象出現(xiàn)的原因做一下具體分析。此外，本文還對創(chuàng)造性叛逆與忠實(shí)的關(guān)系進(jìn)行了一些嘗試性的解釋和分析。 通過研究發(fā)現(xiàn)：《牡丹亭》翻譯中確實(shí)存在著各種各樣的創(chuàng)造性叛逆現(xiàn)象，這些現(xiàn)象在語境層次和結(jié)構(gòu)層次上都有所體現(xiàn)。通過對這些創(chuàng)造性叛逆現(xiàn)象進(jìn)行歸納分類并從順應(yīng)論角度詳細(xì)地進(jìn)行了探討性分析，得出產(chǎn)生這些現(xiàn)象的原因如下：順應(yīng)論中所提出的語言的變異性，商討性和順應(yīng)性為創(chuàng)造性叛逆提供了可能性和前提；為了滿足目的語讀者的理解要求而實(shí)現(xiàn)的語境關(guān)聯(lián)和結(jié)構(gòu)客體上的順應(yīng)來則為創(chuàng)造性叛逆現(xiàn)象的發(fā)生提供了客觀必然性。此外，，通過這些現(xiàn)象及原因的分析，使讀者對“忠實(shí)”和創(chuàng)造性叛逆之間的關(guān)系有更深刻的了解。我們認(rèn)識到：雖然在表層形式上與忠實(shí)有一些沖突，有時(shí)為了順應(yīng)譯入語讀者的接受水平及閱讀習(xí)慣會不可避免地出現(xiàn)一些創(chuàng)造性叛逆，但是客觀上講，創(chuàng)造性叛逆是對“忠實(shí)”一種必要性的補(bǔ)充。創(chuàng)造性叛逆和忠實(shí)具有相同目的：即最大限度地實(shí)現(xiàn)原文準(zhǔn)確的傳達(dá)，使目的語讀者能夠更容易地理解原文并感受中國古典文化的獨(dú)特魅力。兩者相輔相成才能確保文學(xué)翻譯能夠取得更好的結(jié)果。
[Abstract]:For a long time, we have regarded "faithfulness" as the ultimate standard in translation practice. However, in many cases, we have tried our best to achieve this goal. However, the situation is still not optimistic. How on earth can the translator convey the message and artistic conception of the original text more accurately? Besides "faithfulness", are there some other phenomena and standards in translation? This paper attempts to make some tentative exploration and analysis of these problems in order to make readers understand more accurately some objective phenomena in translation and have some new understanding of translation standards. It makes us pay more attention to the subjective creativity of the translator and acknowledge the achievements and contributions made by the translator in translation activities. This thesis attempts to analyze the phenomenon of creative treason in the process of translation of Peony Pavilion from the perspective of adaptation theory. The first one was put forward by the French comparative literature scholar Eskapi in 1958. Creativity refers to the translator's subjective efforts to recreate the artistic charm of the original work. Treason refers to the objective deviation from the original due to various factors, such as the unique characteristics and aesthetic value of literary translation. Creative treason is especially evident in literary translation. As one of the outstanding representatives of Chinese classical drama, Peony Pavilion naturally bears the imprint of Chinese traditional culture. So what kind of creative treason has taken place in the process of translation? Why do these creative rebellions occur? Based on these research questions, this thesis attempts to compare the original text with the translation (Wang Rongpei's translation). To sum up these creative rebellious phenomena and in the framework of adaptation theory to make a specific analysis of the causes of these phenomena. In addition. This paper also gives some tentative explanations and analyses on the relationship between creative treason and faithfulness. It is found that there are various kinds of creative treason in the translation of Peony Pavilion. These phenomena are embodied in both the context and structure levels. Through the induction and classification of these creative rebellious phenomena, this paper makes a detailed analysis from the perspective of adaptation theory. The reasons for these phenomena are as follows: the linguistic variability, negotiation and adaptability proposed in adaptation theory provide the possibility and premise for creative treason; The contextual relevance and the adaptation on the structural object in order to meet the readers' understanding requirements provide the objective inevitability for the occurrence of the creative treason phenomenon. In addition, through the analysis of these phenomena and the reasons. Let the reader have a deeper understanding of the relationship between "faithfulness" and creative treason. We realize that although there are some conflicts between surface forms and faithfulness. In order to conform to the target readers' acceptance level and reading habits, some creative rebellions will inevitably occur, but objectively speaking. Creative treason is a supplement to the necessity of "faithfulness". Creative treason and faithfulness have the same purpose: to maximize the accurate communication of the original text. Only by making it easier for the target language readers to understand the source text and feel the unique charm of Chinese classical culture, can the two be complementary to each other in order to ensure that literary translation can achieve better results.
【學(xué)位授予單位】：湖南大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2011
【分類號】：H315.9;I046

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