【摘要】：在切斯特曼規(guī)范劃分的基礎(chǔ)之上,提出一套由期待規(guī)范、責(zé)任規(guī)范和關(guān)系規(guī)范共同構(gòu)成,將文化、譯者與文本三種視角融于一體的文學(xué)翻譯規(guī)范模式;并以此為方法論,對(duì)晚清至五四前后福爾摩斯偵探小說的三個(gè)代表性譯本進(jìn)行了描寫性研究。從取便發(fā)揮的文言版到信雅兼?zhèn)涞奈难园?再到忠實(shí)流暢的白話版,福爾摩斯偵探小說的譯介始終順應(yīng)著當(dāng)時(shí)占據(jù)主導(dǎo)地位或處于上升趨勢(shì)的期待規(guī)范,以充分滿足各時(shí)代讀者的審美需求為旨?xì)w,此為該小說在晚清至五四規(guī)范流變中的求生之道。
[Abstract]:On the basis of Chestman's normative division, this paper puts forward a set of literary translation normative model, which is composed of expectation norm, responsibility norm and relation norm, which integrates the three perspectives of culture, translator and text, and takes this as the methodology to make a descriptive study of the three representative versions of Sherlock Holmes detective novels before and after the May 4th Movement. From the classical Chinese version to the classical Chinese version, to the faithful and smooth vernacular version, the translation and introduction of Sherlock Holmes detective novels always conform to the expected norms that occupied the dominant position or are on the rise at that time, in order to fully meet the aesthetic needs of readers in various times, which is the way to survive the novel in the evolution of the May 4th norms.
【作者單位】： 四川外國語大學(xué)英語學(xué)院;
【分類號(hào)】：H315.9;I046
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本文編號(hào)：2526721