本文關(guān)鍵詞：翻譯研究：從接受美學(xué)到多元闡釋　出處：《南京師范大學(xué)》2005年碩士論文　論文類型：學(xué)位論文

  更多相關(guān)文章： 意義空白 交流 對話 現(xiàn)象學(xué) 建構(gòu)

【摘要】：目前國內(nèi)探討文學(xué)空白論、文學(xué)意義論、閱讀現(xiàn)象學(xué)的純文論頗多,但把這些理論與翻譯研究結(jié)合起來的并不多。針對目前的研究現(xiàn)狀本文立足于接受美學(xué)的空白觀來探討翻譯研究尋找現(xiàn)象學(xué)美學(xué)與翻譯研究的契合點,使翻譯本文的探尋超越客觀主義和相對主義,變成一種譯者、讀者、作者交互作用的動態(tài)的交流活動,從而建構(gòu)其意義。 文學(xué)翻譯是一種再創(chuàng)造,譯者在各種因素制約下能動地接受開放的原文本,在與原作不斷交流中填補“空白”,構(gòu)建文本的審美意義。譯者并不能把他闡釋的所有聯(lián)想、所有意義都如實寫下來成為譯文文本的內(nèi)容,他必須留給他的譯文讀者以充分的闡釋空間,填補原作的藝術(shù)“空白”,讓他的譯文讀者與文本對話。從這種意義上來說,翻譯即詮釋或翻譯即對話都是不全面的。翻譯過程實際上一個體驗文本“空白”與再現(xiàn)“空白”的過程。 本文在肯定前人研究不同范式的基礎(chǔ)上,歷時分析翻譯研究的三種文學(xué)美學(xué)闡釋范式(作者中心論美學(xué)闡釋、本文中心論美學(xué)闡釋和譯者中心論美學(xué)闡釋),指出這三種范式下意義生成的欠缺性。側(cè)重分析伊瑟爾構(gòu)建的基于本文一讀者的交流結(jié)構(gòu)的后期美學(xué)理論;空白作為其理論構(gòu)架的核心,成為本文與讀者之間的相互召喚、相互作用的中介和調(diào)節(jié)機制。離開了交流這個基點,就不再有閱讀活動。 本文旨在研究意義空白與未定性(伊瑟爾理論)這一外在語境,找到一個新的視點和角度來重新審視和闡釋中國傳統(tǒng)美學(xué)翻譯觀。另一個擬解決的問題是具體指出現(xiàn)象學(xué)理論對翻譯研究的建構(gòu)意義具體表現(xiàn)在哪些方面。
[Abstract]:At present, there are a lot of pure literary theories on literary blank theory, literary meaning theory and reading phenomenology. However, few of these theories have been combined with translation studies. In view of the present situation of translation studies, this paper is based on the blank view of reception aesthetics to explore the convergence between phenomenological aesthetics and translation studies in translation studies. So that the exploration of translation beyond objectivism and relativism becomes a kind of dynamic communication activity of translator reader and author interaction so as to construct its meaning. Literary translation is a kind of re-creation. Under the restriction of various factors, the translator actively accepts the open original text and fills in the "blank" in the continuous communication with the original work. The translator can't make all the associations of his interpretation, all the meanings can be written down truthfully into the content of the translated text, and he must leave his target readers with full interpretation space. Fill in the "blank" of the original art, and let the reader of his translation talk with the text. In this sense. Translation, that is, interpretation or translation, is incomplete. In fact, the process of translation is a process of experiencing the "blank" and reappearing the "blank" in the text. On the basis of affirming the different paradigms of previous studies, this paper focuses on three literary aesthetic interpretation paradigms of diachronic analysis and translation (author centered aesthetic interpretation). The author points out the lack of meaning generation in these three paradigms, and focuses on the later aesthetic theory constructed by Iser based on the communication structure of readers in this thesis. Blank, as the core of its theoretical framework, has become the intermediary and adjustment mechanism between this paper and the readers. Without the basic point of communication, there will be no reading activities. The purpose of this paper is to study the external context of meaning blankness and uncertainty (Ethel's theory). To find a new perspective and angle to re-examine and explain the traditional Chinese aesthetic translation view. Another problem to be solved is to point out the specific aspects of the construction significance of phenomenological theory to translation studies.
【學(xué)位授予單位】：南京師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2005
【分類號】：I046

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本文編號：1434932