本文關(guān)鍵詞： 文學(xué) 翻譯 譯者 創(chuàng)造性 叛逆　出處：《上海外國語大學(xué)》2004年碩士論文　論文類型：學(xué)位論文

【摘要】：文學(xué)翻譯中的創(chuàng)造性叛逆這一術(shù)語自問世以來,一直屬于較為敏感的話題,但卻是翻譯研究中一個(gè)具有獨(dú)特研究價(jià)值的課題。傳統(tǒng)的翻譯理論認(rèn)為譯者應(yīng)竭力擺脫主觀性的控制,使譯文忠實(shí)于原文,但是創(chuàng)造性叛逆的現(xiàn)象在這一術(shù)語被明確提出之前,已經(jīng)存在于文學(xué)翻譯中,并且表現(xiàn)出了頑強(qiáng)的生命力。 本文第一章詳細(xì)論述了這一備受爭議的術(shù)語的廣義定義和狹義定義,以及創(chuàng)造性叛逆與文學(xué)翻譯的息息相關(guān)的聯(lián)系。創(chuàng)造性叛逆在廣義上即是指翻譯活動本身,因?yàn)榉g賦予了原作第二次生命,使它與新的讀者群發(fā)生了新的交流,并且在交流中可能取得原作者意料之外的收獲。創(chuàng)造性叛逆在狹義上即指由于譯者的主觀努力而造成的譯作與原作的背離,這正是本文論述的出發(fā)點(diǎn)。文學(xué)翻譯由于文學(xué)文本意義的不確定性以及文學(xué)文本所追求的目的給譯者的具體理解提出了挑戰(zhàn),所以文學(xué)翻譯常常與創(chuàng)造性叛逆有息息相關(guān)的聯(lián)系。 本文第二章具體論述了譯者的創(chuàng)造性叛逆和譯者的“現(xiàn)形”之間的關(guān)系。一方面,譯者作為翻譯活動的關(guān)鍵主體,不可避免地成為創(chuàng)造性叛逆最重要的主體,譯者的創(chuàng)造性叛逆很大程度上決定和影響著媒介者和接受者對原作的創(chuàng)造性叛逆;另一方面,譯者的創(chuàng)造性叛逆最有力地論證了他在譯作中并非是,而且也不可能是隱形的。譯者必然現(xiàn)形于他的譯作中,譯作與原作相背離的現(xiàn)象特別清楚地體現(xiàn)出了譯者的現(xiàn)形。 本文第三章從勒菲弗爾的“三要素”出發(fā),分析了創(chuàng)造性叛逆這種現(xiàn)象存在的必然性。勒菲弗爾認(rèn)為翻譯是重寫,詩學(xué)觀、意識形態(tài)和贊助人在決定翻譯是重寫中起到了決定性的作用。本文認(rèn)為正是由于譯者的詩學(xué)觀和意識形態(tài)對翻譯過程產(chǎn)生的不可避免的影響,以及贊助人由于實(shí)現(xiàn)本身目的的需要而對翻譯活動施加的影響,而造成了譯者的創(chuàng)造性叛逆的出現(xiàn)。
[Abstract]:The term "creative treason" in literary translation has been a sensitive topic since its inception. Traditional translation theory holds that translators should try their best to get rid of the subjective control and make the target text faithful to the original text. However, the phenomenon of creative treason has already existed in literary translation before the term was explicitly proposed, and has shown tenacious vitality. The first chapter discusses the broad definition and narrow definition of this controversial term, as well as the close relationship between creative treason and literary translation. In a broad sense, creative treason refers to the translation activity itself. Because translation gives the original a second life, it has a new communication with the new readers. Creative treason, in a narrow sense, refers to the deviation between the translation and the original due to the translator's subjective efforts. This is the starting point of this thesis. Literary translation poses a challenge to the translator's specific understanding due to the uncertainty of the meaning of the literary text and the purpose pursued by the literary text. Therefore, literary translation is often closely related to creative treason. The second chapter discusses the relationship between the translator's creative treason and the translator's "present form". On the one hand, the translator, as the key subject of translation, inevitably becomes the most important subject of creative treason. To a great extent, the translator's creative treason determines and influences the media and receiver's creative treason against the original. On the other hand, the translator's creative treason is the most powerful proof that he is and cannot be invisible in his translation. The phenomenon that the translation deviates from the original clearly reflects the translator's appearance. The third chapter analyzes the inevitability of the existence of creative treason from Lefevere's "three elements". Lefevere thinks that translation is rewriting and poetics. Ideology and patronage play a decisive role in deciding whether translation is rewritten. This paper argues that it is the translator's poetics and ideology that inevitably influence the process of translation. And the influence exerted by sponsors on translation activities because of the need to achieve their own purpose, which led to the emergence of creative treason of the translator.
【學(xué)位授予單位】：上海外國語大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2004
【分類號】：I046

【引證文獻(xiàn)】

相關(guān)碩士學(xué)位論文 前1條

1 陳果;[D];電子科技大學(xué);2008年

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本文編號：1467692