本文選題：歸化 + 異化　； 參考：《河南師范大學(xué)》2011年碩士論文

【摘要】：后殖民主義興起于20世紀(jì)70年代末期,在世紀(jì)之交的學(xué)術(shù)研究中受到廣泛關(guān)注,并迅速成為當(dāng)今最有影響力的文學(xué)和文化批評流派之一。后殖民主義的杰出代表之一霍米·巴巴提出了“雜合”理論,旨在解構(gòu)帝國主義的殖民主義傳統(tǒng)經(jīng)典,抵制歐美文化霸權(quán)主義,消解西方中心論,消除二元對立,重建底層民眾和弱勢文化的主體性并幫助他們找回自己的身份。 《紅樓夢》是世界文學(xué)閬苑里的一朵仙葩。作者用他的親身經(jīng)歷和神來之筆,呈現(xiàn)給讀者一幅封建社會(huì)由盛轉(zhuǎn)衰的,生動(dòng)而真實(shí)的歷史畫卷。《紅樓夢》內(nèi)容豐富,涵蓋了建筑藝術(shù)、飲食、醫(yī)藥、養(yǎng)生、習(xí)俗、禮儀、詩詞曲賦、人生百態(tài)等各個(gè)方面,是研究中國古代文學(xué)和文化的一部百科全書。紅樓夢詩詞的翻譯既是《紅樓夢》這部小說翻譯的重要內(nèi)容,也是中國古典詩歌翻譯的一個(gè)重要組成部分。學(xué)界普遍認(rèn)為,楊憲益夫婦的譯本采取了異化策略,而霍克斯和約翰·閔福德的譯本采用了歸化策略。而雜合理論認(rèn)為,沒有絕對歸化或異化的翻譯,任何譯本都是雜合的,其區(qū)別在于雜合程度的不同。本文從雜合理論出發(fā),通過對楊譯本和霍譯本進(jìn)行對比分析,來探討《紅樓夢》詩詞歌賦翻譯中的雜合現(xiàn)象。 本論文指出,楊譯本和霍譯本都是雜合文本,二者的區(qū)別在于雜合程度的不同,一般來說,楊譯本的雜合程度要高于霍譯本。然而并非雜合程度越高,譯文越好,好的譯文應(yīng)該保持適當(dāng)?shù)碾s合度。好的譯文既要盡量傳遞原文語言文化信息,又要注意目標(biāo)語讀者的接受。論文還指出,從后殖民主義翻譯研究的角度而言,楊譯本優(yōu)于霍譯本。總體而言,兩譯本各有千秋,都是成功的譯本,它們在中西文化交流中都起到了橋梁的作用,兩譯本的譯者也都為中西文化交流做出了杰出的貢獻(xiàn)。
[Abstract]:Post-colonialism arose in the late 1970s, and has attracted extensive attention in the academic research at the turn of the century, and has rapidly become one of the most influential literary and cultural criticism schools. Homey Baba, one of the outstanding representatives of post-colonialism, put forward the theory of "hybridity", which aims to deconstruct the traditional classic colonialism of imperialism, resist the cultural hegemonism of Europe and the United States, dispel the western-centered theory, and eliminate the dualistic opposition. Rebuild the subjectivity of the underclass people and the weak culture and help them to find their identity. A Dream of Red Mansions is a fairy flower in the Langyuan of world literature. With his own experience and masterpieces, the author presents to readers a vivid and real historical picture of feudal society from prosperity to decline. The Dream of Red Mansions is rich in content, covering architectural art, diet, medicine, health preservation, custom, etiquette, Poetry, song and Fu, life and other aspects of the study of ancient Chinese literature and culture is an encyclopedia. The translation of the poems of the Dream of Red Mansions is not only an important part of the translation of the novel, but also an important part of the translation of Chinese classical poetry. It is widely believed that the translation of the Yang Xianyi and his wife adopts the strategy of dissimilation, while the translation of Hawks and John Minford adopts the strategy of domestication. However, the theory of heterozygosity holds that there is no absolute domestication or foreignization, and that any translation is heterozygous, and the difference lies in the degree of heterozygosity. Based on the theory of heterozygosity, this paper makes a contrastive analysis of Yang's and Huo's versions to explore the phenomenon of heterozygosity in the translation of songs and songs in A Dream of Red Mansions. This paper points out that both the Yang version and the Huo version are heterozygous texts, and the difference between them lies in the degree of heterozygosity. Generally speaking, the degree of heterozygosity of Yang version is higher than that of Huo version. However, the higher the degree of heterozygosity, the better the translation. A good translation should maintain an appropriate degree of heterozygosity. A good translation should not only convey the cultural information of the original language as much as possible, but also pay attention to the acceptance of the target language readers. The thesis also points out that Yang's translation is superior to Huo's from the perspective of post-colonial translation. Generally speaking, the two versions are successful versions, which have played a bridge role in the cultural exchange between China and the West. The translators of both versions have also made outstanding contributions to the cultural exchange between China and the West.
【學(xué)位授予單位】：河南師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2011
【分類號(hào)】：H059;I046

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本文編號(hào)：1924263