接受美學(xué)、闡釋學(xué)和《魔戒》翻譯
發(fā)布時(shí)間：2018-09-10 16:29
【摘要】：《魔戒》是一部宏大的奇幻小說。它是教授文獻(xiàn)學(xué)并鉆研古盎格魯撒克遜語言的牛津大學(xué)教授、語言學(xué)家托爾金創(chuàng)作的一部森羅萬象的架空世界的作品。自二十世紀(jì)六十年代問世以來,它一直倍受讀者們的喜愛,是二十世紀(jì)最暢銷的作品之一�！赌Ы洹返慕�(jīng)久不衰以及巨大的影響力使其作者托爾金被人們譽(yù)為“奇幻文學(xué)之父”。托爾金在小說中大膽地采用了許多自創(chuàng)的語句和文法,成功地讓讀者瞥見了故事背后所隱藏的龐大歷史背景。《魔戒》已被譯為四十多種文字,暢銷世界,但其中文版區(qū)姍姍來遲。2001年譯林出版社出版了中文版的《魔戒》,立刻引起了極大的反響。 本文著重借鑒西方哲學(xué)闡釋學(xué)和接受美學(xué)的若干理論來分析《魔戒》的翻譯。在簡要追溯西方闡釋學(xué)發(fā)展的基礎(chǔ)上,概述了闡釋學(xué)的代表人物伽達(dá)默爾的“偏見”理論及其對接受美學(xué)的影響,該理論強(qiáng)調(diào)了理解的普遍性、創(chuàng)造性、歷史性。接受美學(xué)產(chǎn)生于二十世紀(jì)六十年代末、七十年代初。其代表人物是伊瑟爾和姚斯。它和闡釋學(xué)的主要差別在于闡釋學(xué)是哲學(xué)理論,而接受美學(xué)是一種文論。接受美學(xué)將研究的重點(diǎn)由傳統(tǒng)的文本轉(zhuǎn)向了讀者。認(rèn)為單純的作品文本研究只抓住了文學(xué)總體活動(dòng)的一個(gè)緯度,忽視了人的活生生的交流和文學(xué)社會(huì)接受效果問題。而讀者決不是可有可無的因素,讀者是文學(xué)活動(dòng)的能動(dòng)主體。 本文將從闡釋學(xué)和接受美學(xué)角度來探討翻譯的本質(zhì),并結(jié)合該理論評(píng)論《魔戒》的翻譯和接受。本文分為三章:第一章介紹作品《魔戒》以及它現(xiàn)有的譯本。第二章探討了闡釋學(xué)、接受美學(xué)、以及翻譯和闡釋學(xué)、接受美學(xué)的關(guān)系。翻譯是種闡釋;翻譯的過程中有兩次接受,第一次接受活動(dòng)是譯者和原作的對話,即譯者對原作的闡釋,與此同時(shí),譯者還要考慮到讀者的反應(yīng)。第二次接受是讀者與譯者的對話。第三章則運(yùn)用闡釋學(xué)和接受美學(xué)的觀點(diǎn)來分析《魔戒》的翻譯。本文將從期待視野、美學(xué)元素的再創(chuàng)造和讀者的反應(yīng)三個(gè)方面來探討。美學(xué)元素的再創(chuàng)造這一部分則是從作品的結(jié)構(gòu)、人物的個(gè)性、修辭、以及文中的詩歌翻譯等幾個(gè)方面展開討論。
[Abstract]:The Lord of the Rings is a great fantasy novel. It is a work of the silhouette world written by Oxford University professor of ancient Anglo-Saxon languages and linguist Tolkien. Since its publication in the 1960s, it has been one of the best-selling works of the 20th century. The enduring and great influence of the Lord of the Rings has made its author Tolkien known as the father of fantasy literature. Tolkien boldly uses many of his own words and grammars in his novels, successfully giving readers a glimpse of the vast historical background behind the story. The Lord of the Rings has been translated into more than forty languages and sold in the world. However, the Chinese version of Lord of the Rings was published by Yilin Publishing House in 2001, which immediately aroused great response. This paper analyzes the translation of the Lord of the Rings from some theories of western philosophical hermeneutics and receptive aesthetics. Based on a brief review of the development of Western hermeneutics, this paper summarizes Gadamer's theory of "prejudice" and its influence on reception aesthetics, which emphasizes the universality, creativity and historicity of understanding. Reception aesthetics emerged in the late 1960 s and early 1970 s. Its representative figures are Iser and Joss. The main difference between hermeneutics and hermeneutics is that hermeneutics is a philosophical theory, while reception aesthetics is a literary theory. Reception aesthetics shifts the focus of the study from the traditional text to the reader. It is considered that the study of literary texts only grasps one dimension of the overall literary activities and neglects the living communication of human beings and the acceptance effect of literary societies. The reader is by no means a dispensable factor, and the reader is the active subject of literary activity. This paper discusses the nature of translation from the perspective of hermeneutics and reception aesthetics, and comments on the translation and acceptance of the Lord of the Rings. This paper is divided into three chapters: the first chapter introduces the Lord of the Rings and its existing translations. Chapter two discusses the relationship between hermeneutics, reception aesthetics, translation, hermeneutics and reception aesthetics. Translation is a kind of interpretation. In the process of translation, there are two acceptances, the first acceptance is the dialogue between the translator and the original, that is, the translator's interpretation of the original, and at the same time, the translator takes into account the reader's reaction. The second acceptance is the dialogue between the reader and the translator. Chapter three uses hermeneutics and receptive aesthetics to analyze the translation of Lord of the Rings. This article will discuss from three aspects: the vision of expectation, the re-creation of aesthetic elements and the response of readers. The re-creation of aesthetic elements is discussed from several aspects, such as the structure of the work, the personality of the characters, rhetoric, and poetry translation.
【學(xué)位授予單位】：武漢大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2005
【分類號(hào)】：I046
本文編號(hào)：2234992
[Abstract]:The Lord of the Rings is a great fantasy novel. It is a work of the silhouette world written by Oxford University professor of ancient Anglo-Saxon languages and linguist Tolkien. Since its publication in the 1960s, it has been one of the best-selling works of the 20th century. The enduring and great influence of the Lord of the Rings has made its author Tolkien known as the father of fantasy literature. Tolkien boldly uses many of his own words and grammars in his novels, successfully giving readers a glimpse of the vast historical background behind the story. The Lord of the Rings has been translated into more than forty languages and sold in the world. However, the Chinese version of Lord of the Rings was published by Yilin Publishing House in 2001, which immediately aroused great response. This paper analyzes the translation of the Lord of the Rings from some theories of western philosophical hermeneutics and receptive aesthetics. Based on a brief review of the development of Western hermeneutics, this paper summarizes Gadamer's theory of "prejudice" and its influence on reception aesthetics, which emphasizes the universality, creativity and historicity of understanding. Reception aesthetics emerged in the late 1960 s and early 1970 s. Its representative figures are Iser and Joss. The main difference between hermeneutics and hermeneutics is that hermeneutics is a philosophical theory, while reception aesthetics is a literary theory. Reception aesthetics shifts the focus of the study from the traditional text to the reader. It is considered that the study of literary texts only grasps one dimension of the overall literary activities and neglects the living communication of human beings and the acceptance effect of literary societies. The reader is by no means a dispensable factor, and the reader is the active subject of literary activity. This paper discusses the nature of translation from the perspective of hermeneutics and reception aesthetics, and comments on the translation and acceptance of the Lord of the Rings. This paper is divided into three chapters: the first chapter introduces the Lord of the Rings and its existing translations. Chapter two discusses the relationship between hermeneutics, reception aesthetics, translation, hermeneutics and reception aesthetics. Translation is a kind of interpretation. In the process of translation, there are two acceptances, the first acceptance is the dialogue between the translator and the original, that is, the translator's interpretation of the original, and at the same time, the translator takes into account the reader's reaction. The second acceptance is the dialogue between the reader and the translator. Chapter three uses hermeneutics and receptive aesthetics to analyze the translation of Lord of the Rings. This article will discuss from three aspects: the vision of expectation, the re-creation of aesthetic elements and the response of readers. The re-creation of aesthetic elements is discussed from several aspects, such as the structure of the work, the personality of the characters, rhetoric, and poetry translation.
【學(xué)位授予單位】：武漢大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2005
【分類號(hào)】：I046
【引證文獻(xiàn)】
相關(guān)碩士學(xué)位論文 前2條
1 朱明霓;奇幻性在翻譯中的體現(xiàn)[D];華東師范大學(xué);2008年
2 留妍;試論西方奇幻文學(xué)的翻譯[D];上海外國語大學(xué);2009年
，本文編號(hào)：2234992
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