本文選題：拜倫 + 翻譯��； 參考：《四川大學(xué)》2005年碩士論文

【摘要】：在眾多的西方抒情詩人中,無論從譯介規(guī)模、關(guān)注熱情、社會(huì)效應(yīng)各方面而言,拜倫在中國翻譯史上都占據(jù)了不可或缺的地位。早在“五四”以前的中國,拜倫的聲譽(yù)就早已超過了除莎士比亞以外的其他英國詩人。從1903年,梁啟超在自己的政治小說《新中國未來記》中首次譯出拜倫的長詩《唐璜》中兩節(jié)獨(dú)立成章的詩中詩開始,中國的譯者對(duì)翻譯拜倫的詩歌給予了空前的關(guān)注。在過去的一百年中,對(duì)于拜倫詩歌的譯介從未停止。“狂飚中的拜倫之歌”席卷了整個(gè)中國,為中國的知識(shí)界帶來了巨大的影響。 拜倫一直為眾多學(xué)者所關(guān)注。但以往的研究多集中在探討拜倫詩歌的藝術(shù)特色,拜倫的社會(huì)以及文學(xué)影響等等,似乎忽略了對(duì)拜倫詩歌翻譯在中國的百年歷程做一系統(tǒng)性的梳理。 拜倫本人個(gè)性張揚(yáng),反叛不羈,其詩歌飽含熱情,獨(dú)具魅力。因而在拜倫詩歌歷時(shí)百年的漢譯過程中,由于歷史文化背景的不同,不同的譯者對(duì)于拜倫詩歌的解讀也不盡相同。從國家主義的代言人到“摩羅詩人”的代表,從浪漫主義詩人到民族主義與個(gè)人主義相結(jié)合的現(xiàn)代個(gè)體,在對(duì)拜倫詩歌的翻譯與接受中,拜倫的個(gè)人形象以及其詩歌中所塑造的人物形象也隨著主導(dǎo)各個(gè)時(shí)期不同的社會(huì)意識(shí)形態(tài)而改變。而風(fēng)云變換的歷史背景以及隨歷史潮流而動(dòng)的大眾文化觀念和審美趣味,則是影響翻譯選材和譯者翻譯策略的根本原因。本文在前人研究的基礎(chǔ)上,以二十世紀(jì)英美“新批評(píng)”與當(dāng)代著名翻譯理論家勒弗菲爾(Andre Lefvere)關(guān)于意識(shí)形態(tài)與詩學(xué)的理論為指導(dǎo),試圖通過對(duì)拜倫詩歌在中國翻譯與接受之百年歷程的梳理和分析,說明社會(huì)文化以及譯者不同的意識(shí)形態(tài)
[Abstract]:Among the many western lyric poets, Byron occupies an indispensable position in the history of Chinese translation in terms of translation scale, enthusiasm and social effect. Long before the May 4th Movement, Byron's reputation surpassed that of any other English poet except Shakespeare. Since 1903, when Liang Qichao first translated two separate poems in Byron's long poem Don Juan in his political novel the Future of New China, Chinese translators have paid unprecedented attention to the translation of Byron's poems. Over the past hundred years, the translation of Byron's poems has never ceased. The song of Byron swept the whole of China, bringing great influence to the Chinese intellectual world. Byron has been concerned by many scholars. However, previous studies have focused on the artistic characteristics of Byron's poetry, the social and literary influence of Byron and so on, and seem to ignore the systematic analysis of the century-long history of Byron's poetry translation in China. Byron's own personality, rebellious unruly, his poetry full of enthusiasm, unique charm. Therefore, in the process of translating Byron's poems into Chinese for a hundred years, different translators have different interpretations of Byron's poems because of the different historical and cultural backgrounds. From the spokesman of nationalism to the representative of "Moro Poet", from the Romantic poet to the modern individual who combines nationalism and individualism, in the translation and acceptance of Byron's poems, Byron's personal image and the characters created in his poems also changed with the different social ideology in different periods. The historical background of the change and the popular cultural concept and aesthetic taste, which move with the historical trend, are the fundamental reasons that influence the selection of translation materials and the translator's translation strategies. On the basis of previous studies, this thesis is guided by the theory of ideology and poetics of the New criticism in Britain and America in the 20th century and the contemporary famous translation theorist, Lefverere. This paper attempts to explain the social culture and translators' different ideologies by combing and analyzing the century-long history of Byron's poetry translation and acceptance in China.
【學(xué)位授予單位】：四川大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2005
【分類號(hào)】：I209;I046

【引證文獻(xiàn)】

相關(guān)碩士學(xué)位論文 前1條

1 吳素君;一個(gè)詩人的神話[D];上海師范大學(xué);2007年

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本文編號(hào)：1982124