本文選題：文學翻譯對等　切入點：接受美學　出處：《重慶大學》2004年碩士論文　論文類型：學位論文

【摘要】：文學之所以成為文學，是因為它具有審美或詩學功能，這是文學區(qū)別于其它文體的一個重要標志。在文學翻譯中藝術(shù)形象的傳達，并非等于對原文語言形式的復制或語義概念的等值，而是在原文信息內(nèi)容的基礎(chǔ)上最大限度地體現(xiàn)其藝術(shù)效果。譯者不僅要透過原文的語義內(nèi)容，感知原文描寫的形象，而且要考慮譯文讀者的認知接受，看其能否激發(fā)讀者產(chǎn)生同樣栩栩如生的意象，并召喚讀者進入原文的藝術(shù)境界，獲得同樣的審美體驗。 然而，在文學翻譯中，譯者與作者之間似乎存在著一種秘而不宣的意識沖突，作者用詩學語言來虛擬現(xiàn)實，讓讀者感知事物來體驗自己的審美意境；而譯者則多傾向于信息的傳遞，以利于讀者的了解。因而，譯者的交際目的便往往與作者的審美意圖發(fā)生沖突：前者側(cè)重信息傳遞，后者側(cè)重詩學創(chuàng)作。 以接受美學為視角，本文具體分析了讀者在文學作品中與文本相互作用獲得作者原意及其審美體驗中所起的重要作用。接受美學認為，文藝作品的形象體系僅僅構(gòu)成一個圖式框架，中間有許多不確定的空白在待于讀者通過創(chuàng)造性的想象去填補、充實、豐富。這種圖式結(jié)構(gòu)激發(fā)讀者通過形象思維，使原文中模糊不定的藝術(shù)形象轉(zhuǎn)換為讀者心目中明確的意象。雖然原文是一個在各個方向和層面都存有空白的圖式結(jié)構(gòu)，但譯者所感知的圖式卻是一個完整的有機體，而非個別情景或細節(jié)的簡單疊加。 本文首先介紹了不同譯者為了翻譯對等所持的翻譯標準，對其優(yōu)點和不足之處作了評價，，提出了本文作者在評價文學翻譯作品是否對等時所持的標準。據(jù)此，本文把文學批評中的接受美學引入了對文學翻譯作品的評價，并在其框架內(nèi)具體分析了不同文學類型翻譯作品，看在評價其與原文是否對等時讀者所起的積極作用，并對譯文的多樣性所了闡釋。 本文從讀者接受的角度來研究文學翻譯對等，希望為文學翻譯作品的評價提供一個新的視角，也希望在翻譯理論研究或翻譯教學中，對讀者的作用能引起足夠的重視。
[Abstract]:Literature becomes literature because it has the function of aesthetics or poetics, which is an important symbol of the difference between literature and other styles. It is not equal to the reproduction of the form of the original language or the equivalent of the semantic concept, but to the maximum extent of the artistic effect of the original text on the basis of the content of the original information. The translator should not only perceive the image of the original description through the semantic content of the original text, but also the image of the original text. Moreover, we should consider the cognitive acceptance of the target readers to see if they can stimulate the readers to produce the same lifelike images, and call the readers into the artistic realm of the original text to obtain the same aesthetic experience. However, in literary translation, there seems to be a kind of tacit conflict of consciousness between the translator and the author. The author uses poetic language to realize the virtual reality and let the reader experience his aesthetic conception by perceiving things. Therefore, the translator's communicative purpose often conflicts with the author's aesthetic intention: the former focuses on the transmission of information and the latter on poetics. From the perspective of reception aesthetics, this paper specifically analyzes the important role that readers play in obtaining the author's original intention and aesthetic experience by interacting with the text in literary works. The image system of literary and artistic works only constitutes a schema frame, and there are many uncertain gaps waiting for the reader to fill, enrich and enrich through creative imagination. The ambiguous artistic image in the original text is transformed into a clear image in the reader's mind. Although the original text is a schema structure which is blank in all directions and levels, the schema the translator perceives is a complete organism. Rather than a simple superposition of individual situations or details. This paper first introduces the translation standards adopted by different translators for translation equivalence, evaluates their merits and demerits, and puts forward the criteria adopted by the author in evaluating whether literary translation is equivalent or not. In this paper, the reception aesthetics in literary criticism is introduced into the evaluation of literary translation works, and within its framework, the author analyzes the translation works of different literary types, and looks at the positive role of the readers in evaluating whether they are equivalent to the original text. And the diversity of the translation is explained. This paper studies literary translation equivalence from the perspective of readers' acceptance, hoping to provide a new perspective for the evaluation of literary translation works, and also hopes that the role of readers can be paid enough attention to in translation theory research or translation teaching.
【學位授予單位】：重慶大學
【學位級別】：碩士
【學位授予年份】：2004
【分類號】：I046

【參考文獻】

相關(guān)期刊論文 前1條

1 王東風;譯家與作家的意識沖突:文學翻譯中的一個值得深思的現(xiàn)象[J];中國翻譯;2001年05期

本文編號：1635230