【摘要】：風格的傳遞,是文學翻譯中最敏感而復雜的問題之一。古典名著《紅樓夢》自18世紀中葉誕生以來就被廣為傳閱, 更有眾多名人為研究它而著書立說。自19世紀30年代開始，中外譯者就用英、法、德、日、俄等在內的多國語言以節(jié)譯、縮譯或全譯的形式將其譯出�！凹t學”家們，批評家們，甚至諸多學者都對其中風格的傳遞問題進行過熱烈地談討。 《紅樓夢》不僅內容豐富，而且在結構安排上“文備眾體”，繼而被冠之以“百科全書”之名。前朝發(fā)展起來的各種文體，如詩、詞、曲、歌、謠、諺、贊、誄、偈語、辭賦、聯(lián)額、書啟、燈謎、酒令、駢文等等，都在這一巨著中有所引用, 僅以其中的詩體而言，就有五絕、七絕、五律、七律，有詠懷的、詠物的、即事的、即景的、懷舊的、打油的，有限題的、限韻的、限詩體的等等，極其豐富多彩。這些韻文不但本身具有很高的藝術價值，而且是整部小說不可或缺的組成部分。 本文引用了劉宓慶先生風格翻譯論中的風格符號系統(tǒng)理論，試圖對楊憲益夫婦和大衛(wèi)·霍克斯的譯本進行粗略地評述，，比較二者在《紅樓夢》詩歌翻譯中是否對原作風格進行了成功地傳遞。 全文分為六個部分： 引言部分簡要介紹了風格這一概念在中外文學史上的地位及詩歌的風格特征。 第一部分扼要介紹了《紅樓夢》中詩歌的基本特征及其在兩個譯本中的翻譯情況。 第二部分對劉宓慶翻譯風格論的風格符號系統(tǒng)從形式標記和非形式標記作以簡單闡述。 第三總部分依次談論了風格的可譯性，風格傳遞的三種基本方法，形式標記在《紅樓夢》詩歌翻譯中的風格傳遞以及非形式標記在其風格傳譯中的表現(xiàn)等。 第四部分粗略敘述了譯者在對《紅樓夢》詩歌的風格進行傳遞時，因文化差異和語言差異所遇到的限制因素。 結論部分對全文作以歸納和總結，并提出了一些有待于進一步研究的問題。
[Abstract]:The transmission of style is one of the most sensitive and complicated problems in literary translation. The classical masterpiece A Dream of Red Mansions has been widely read since its birth in the middle of the 18th century, and many famous people have written books to study it. Since the 1930s, Chinese and foreign translators have translated them in English, French, German, Japanese, Russian and other languages in the form of abstract, abbreviated or complete translation. "Red Mansions" scholars, critics, and even many scholars have talked enthusiastically about the transmission of style. "A Dream of Red Mansions" is not only rich in content, And in the structure of the "prepared for the masses", and then the title of "encyclopedia". The various styles developed in the previous dynasties, such as poems, words, songs, ballads, proverbs, praises, eulogy, stanzas, Fu, couplet, calligraphy, lantern riddles, wine orders, parallel prose and so on, have been cited in this great work, only in terms of their poetic style. There are five absolute, seven absolute, five laws, seven laws, some chanting things, that is, scenery, nostalgia, oil, limited, rhyme, poetry and so on, extremely rich and colorful. These verses are not only of high artistic value, but also an indispensable part of the whole novel. This paper refers to the theory of stylistic symbol system in Liu Miqing's style translation theory, and attempts to make a rough comment on the translations of the couple Yang Xianyi and David Hawks. This paper compares whether the original style has been successfully transmitted in the translation of A Dream of Red Mansions. The full text is divided into six parts: the introduction briefly introduces the status of the concept of style in the history of Chinese and foreign literature and the style characteristics of poetry. The first part briefly introduces the basic features of the poems in A Dream of Red Mansions and their translation in two versions. In the second part, the stylistic symbol system of Liu Miqing's translation style theory is briefly described from formal and non-formal marks. The third headquarters discusses in turn the translatability of style, the three basic methods of style transmission, the style transfer of formal markers in the translation of A Dream of Red Mansions and the expression of non-formal markers in the interpretation of style. In the fourth part, the author gives a brief account of the cultural and linguistic differences that the translator has encountered when he conveys the style of A Dream of Red Mansions. The conclusion part summarizes the whole paper and puts forward some questions that need further study.
【學位授予單位】：西安電子科技大學
【學位級別】：碩士
【學位授予年份】：2004
【分類號】：I046

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本文編號：2193030