發(fā)布時(shí)間：2018-03-17 23:08

  本文選題：文體　切入點(diǎn)：文體翻譯理論　出處：《天津師范大學(xué)》2003年碩士論文　論文類型：學(xué)位論文

【摘要】： 在傳統(tǒng)翻譯理論中，，文體是一個(gè)很重要但往往被忽視的因素。針對(duì)這種狀況，我提出了文體翻譯觀。這一觀點(diǎn)以前景化對(duì)等為最高標(biāo)準(zhǔn)，將翻譯看作一個(gè)發(fā)生在社會(huì)語(yǔ)境中的交際過(guò)程，譯者身處其中協(xié)調(diào)與原作作者與譯作讀者之間。在這一過(guò)程中，譯者將遵循三步模式：(1)以功能文體學(xué)為依托，分析原文。譯者應(yīng)將整個(gè)語(yǔ)篇作為翻譯的基本單位并努力找到前景化模式(2)將原語(yǔ)語(yǔ)篇轉(zhuǎn)化為譯語(yǔ)語(yǔ)篇(3)在譯語(yǔ)語(yǔ)境中進(jìn)行補(bǔ)償以期達(dá)到前景化對(duì)等。對(duì)翻譯理論者至關(guān)重要的則是對(duì)發(fā)生在原語(yǔ)與譯語(yǔ)語(yǔ)篇翻譯過(guò)程中的問(wèn)題與解決方法進(jìn)行系統(tǒng)而詳盡的對(duì)比研究。我將此理論運(yùn)用于文類翻譯中的一個(gè)薄弱環(huán)節(jié)：戲劇翻譯。從文體學(xué)的角度出發(fā)，我們所應(yīng)研究的是戲劇文本而非戲劇演出。文學(xué)文體學(xué)完美而系統(tǒng)的提供給我們一套文本分析模式：即同時(shí)將戲劇看作詩(shī)歌、小說(shuō)和對(duì)話。盡管前兩種方式不可或缺，但不能真正的將戲劇與詩(shī)歌和小說(shuō)區(qū)別開(kāi)來(lái)并賦予其獨(dú)立的地位。戲劇的獨(dú)特之處在于它更強(qiáng)調(diào)言語(yǔ)互動(dòng)和通過(guò)何種言語(yǔ)方式構(gòu)建和協(xié)調(diào)出對(duì)話者之間的關(guān)系。話語(yǔ)分析在此可派上最大用場(chǎng)。根據(jù)文體翻譯理論，在莎士比亞翻譯中，第一步是將整個(gè)劇本放在原語(yǔ)語(yǔ)境中以抓住其整體前景化模式。第二步，我們選擇一些有代表性的片段放在以上三種方式中的其中一種進(jìn)行分析，并盡力找出局部前景特征以及隱藏于其中的動(dòng)機(jī)。第三步，在傳譯過(guò)程中，我們要以功能文體學(xué)為指導(dǎo)在譯本中保持原文的文體特征。最后我們將對(duì)比原文與譯文以推斷出這一過(guò)程中的翻譯程序與技巧。
[Abstract]:In the traditional translation theory, style is a very important but often neglected factor. In view of this situation, I put forward the stylistic translation view, which regards foregrounding equivalence as the highest standard. Translation is regarded as a communicative process in a social context in which the translator is in harmony with the author of the original and the reader of the translation. In this process, the translator will follow the three-step model: 1) based on functional stylistics. The translator should regard the whole text as the basic unit of translation and try to find out the mode of foregrounding. (2) the original text should be transformed into the target text, and compensation should be made in the context of the target language in order to achieve foregrounding equivalence. A systematic and detailed comparative study of the problems and solutions that occur in the process of translation between the source language and the target text is essential. I apply this theory to a weak link in literary translation: drama translation. From the perspective of stylistics, We should study dramatic texts rather than theatrical performances. Literary stylistics offers us a perfect and systematic model of text analysis: to view drama as poetry, fiction, and dialogue at the same time, although the first two ways are indispensable. But it can not really distinguish drama from poetry and novel and endow it with independent status. The uniqueness of drama lies in the fact that it emphasizes more on verbal interaction and on how to construct and coordinate the relationship between the interlocutors. Discourse analysis can be most useful here. According to stylistic translation theory, In Shakespeare's translation, the first step is to put the whole script in the context of the original language in order to grasp its overall foregrounding model. In the second step, we choose some representative fragments to be placed in one of the three ways above for analysis. And try to find out the local foreground features and the hidden motivation. Third, in the process of interpretation, We should keep the stylistic features of the original text under the guidance of functional stylistics. Finally, we will compare the original text with the target text in order to infer the translation procedures and techniques in this process.
【學(xué)位授予單位】：天津師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2003
【分類號(hào)】：I046

【引證文獻(xiàn)】

相關(guān)碩士學(xué)位論文 前2條

1 張鐸;論戲劇翻譯描寫(xiě)性研究的外部過(guò)程取向[D];清華大學(xué);2007年

2 劉頌;從規(guī)范論看莎劇朱譯本[D];南京農(nóng)業(yè)大學(xué);2009年

本文編號(hào)：1626894