【摘要】：宋詞是中國古典文學(xué)寶庫中的珍寶。宋詞,作為一種配樂唱的詩體,具有與其他形式詩歌不同的特點(diǎn):文字簡潔,立意深遠(yuǎn),格律嚴(yán)謹(jǐn)。清朝學(xué)者王國維稱,宋詞“能言詩之不能言,不能盡言詩之所言”。在國際交流日益頻繁的今天,宋詞的翻譯有助于推動(dòng)跨文化交流。 接受美學(xué)與傳統(tǒng)的作者中心論和文本中心論不同,它強(qiáng)調(diào)讀者在文學(xué)作品接受過程中的地位。接受美學(xué)認(rèn)為,文學(xué)作品是一個(gè)充滿空白和未定處、多層面的、未完成的圖式結(jié)構(gòu)。因此,文學(xué)文本的自身并不能產(chǎn)生獨(dú)立的意義,而是需要借助讀者的閱讀具體化來豐富作品的意義,從而不斷地維持作品的生命和提高作品的價(jià)值。 在對宋詞的閱讀和翻譯過程中,譯者是原文本的第一讀者,具有主體性和創(chuàng)造性;目標(biāo)語讀者是譯本的最終讀者,在實(shí)現(xiàn)翻譯作品的意義過程中扮演重要的角色;作為文學(xué)作品的一種形式,宋詞具有文本未定處,如詞匯層面的空白、句法層面的空白和格律空白。以上三大因素共同影響了翻譯策略的選擇和不同翻譯版本的誕生。 本文結(jié)合接受美學(xué)理論,以蘇詞的英譯為案例,對宋詞翻譯進(jìn)行探索性的分析和研究,著重討論譯者作用、目標(biāo)語讀者地位和再現(xiàn)原作美學(xué)特點(diǎn)的翻譯策略。最后,本文的預(yù)期結(jié)論是:第一,從接受美學(xué)角度評(píng)析譯作,將詩詞翻譯研究的重點(diǎn)從文本中心轉(zhuǎn)向讀者中心,重視譯者的主體性和創(chuàng)造性,能夠解釋并鼓勵(lì)一首詞的不同譯本的存在價(jià)值,最終將有助于完善現(xiàn)有的翻譯評(píng)判標(biāo)準(zhǔn)。第二,將接受美學(xué)引入宋詞中文本空白的翻譯處理,有助于豐富詩詞翻譯理論和翻譯方法。
[Abstract]:Song ci is a treasure in the treasure-house of Chinese classical literature. Song ci, as a kind of poem with music and singing, has different characteristics from other forms of poetry: simple writing, profound meaning and strict rhythm. Wang Guowei, a scholar in the Qing Dynasty, said that Song ci "can not say what poetry can say, can not say the words of poetry." In today's increasingly frequent international communication, the translation of Song ci helps to promote cross-cultural communication. Reception aesthetics is different from the traditional author-centered theory and text-centered theory, which emphasizes the reader's position in the process of literary acceptance. Receptive aesthetics holds that literary works are full of blanks and uncertainties, multilayered, unfinished schematic structures. Therefore, the literary text itself can not produce independent meaning, but need to enrich the meaning of the works by the readers' reading concretization, so as to continuously maintain the life of the works and improve the value of the works. In the process of reading and translating Song ci, the translator is the first reader of the original text, with subjectivity and creativity, and the target language reader is the final reader of the translation, and plays an important role in the process of realizing the meaning of the translated works. As a form of literary works, Song ci has undefined text, such as lexical blank, syntactic blank and regular blank. The above three factors affect the choice of translation strategies and the birth of different translation versions. Based on the theory of reception aesthetics and taking the English translation of Su ci as an example, this paper makes an exploratory analysis and research on the translation of Song ci, focusing on the translator's role, the reader's position of the target language and the translation strategy of reproducing the aesthetic characteristics of the original work. Finally, the expected conclusions of the thesis are as follows: first, from the perspective of reception aesthetics, the emphasis of the study of poetry translation is shifted from text-centered to reader-centered, and the translator's subjectivity and creativity are emphasized. To explain and encourage the existence of different versions of a word will ultimately help to improve the existing criteria for translation evaluation. Secondly, it is helpful to enrich the translation theory and method of poetry translation by introducing reception aesthetics into the blank translation of Song ci.
【學(xué)位授予單位】：蘇州大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2011
【分類號(hào)】：H315.9;I046

【參考文獻(xiàn)】

相關(guān)期刊論文 前6條

1 仝亞輝;接受美學(xué)對翻譯研究的啟示[J];福建外語;2002年03期

2 包通法;古詩詞的翻譯[J];無錫輕工大學(xué)學(xué)報(bào)(社會(huì)科學(xué)版);2001年02期

3 劉宓慶;翻譯的風(fēng)格論(上)[J];外國語(上海外國語學(xué)院學(xué)報(bào));1990年01期

4 秦洪武;論讀者反應(yīng)在翻譯理論和翻譯實(shí)踐中的意義[J];外國語(上海外國語學(xué)院學(xué)報(bào));1999年01期

5 楊武能;;闡釋、接受與再創(chuàng)造的循環(huán)——文學(xué)翻譯斷想[J];中國翻譯;1987年06期

6 王斌;概念整合與翻譯[J];中國翻譯;2001年03期

，

本文編號(hào)：2253091