论文学翻译中作者风格和译者风格的矛盾与统一

发布时间：2018-01-12 13:16

本文关键词：论文学翻译中作者风格和译者风格的矛盾与统一　出处：《吉林大学》2006年硕士论文　论文类型：学位论文

【摘要】： 风格的翻译是影响翻译作品质量的重要因素之一,也是历来颇富争议的问题之一。究其原因,主要是风格本身比较难以精确界定。从宏观上讲,风格包括时代风格、民族风格、阶级风格;从微观上讲,风格是作品内容与形式在文学作品中的有机统一。风格不仅具有鲜明的独特性,还具有时代性、阶级性、民族性、地域性等特征,但这并不意味着风格是不可转移的。强调风格独特性的同时,也应该承认风格具有相对稳定性和宏观上的普遍性。风格不仅属于某一独立个体,也可以属于一个群体。不同的人也可以有同样的风格。从科学角度讲,风格是可以量化的,即将风格标记引进文本中,通过统计原文中某一风格标记出现的频度,定量分析风格的某种特征。因此,风格是可以模仿、能够把握的。传统翻译理论把译者比作“仆人”、“奴隶”,译者要绝对地“忠诚”于作者;近年来有些人提倡:译者就是“背叛者”,从“奴隶”到“叛徒”是从一个极端走向另一个极端的表现,“奴隶”论抹杀译者在翻译过程中的主体性;而“叛徒”论则过分强调译者的主体性,甚至达到“背叛”原文的程度。实质上,从翻译活动的社会性角度讲,社会文化环境的差异直接影响翻译活动的译者个性,使不同时代、不同地域的译者具有各种各样的时代特征和地域特征,而这些变化又反映在不同作品的译文或同一作品的不同译作之中;其次,从解构主义翻译观角度讲,原文和译文的关系,再也不是传统翻译理论主张的“模式━复制”的关系,而是平等的、“共生”的关系,文本经过翻译而被赋予了新的意义,并获得了新的生命。译者是创造的主体,翻译文本是创造的新生语言,因此,译者是“创造性的叛逆者”。文学翻译作为一种艺术“再创造”,远远超出传统意义上的“忠实”、“等值”界限。原作风格与译作风格要达到完全彻底的统一只是一种难以企及的理想。由于语言文化差异,译者与作者知识结构,艺术修养和审美能力方面的差异,译者对原作风格的理解与原作风格的客观存在之间的差异加之原作风格确有一些不可译的因素,原作风格在翻译过程中必然受到一定程度的破坏和损伤。任何成功的风格翻译都难免存在一定程度的失真和走样。这在客观上也为译者的创造性翻译及译作风格的形成提供了空间。从辩证的观点出发,原作风格和译作风格是同一矛盾的两个方面。原作风格的传达是重点,是矛盾的主要方面。尽管在很大程度上,译作风格
[Abstract]:The translation of style is one of the important factors that affect the quality of translation works, but also has always been one of the controversial issues. The reason is the main style itself is difficult to define precisely. From a macro perspective, including the era style style, ethnic style, class style; from the micro perspective, style is the organic unity of content and form of works in the literary works. Not only has the unique style, but also with the times, class, nationality, regional characteristics, but this does not mean that the style is not transferable. Emphasizing the unique style of style at the same time, should also admit the universality of relative stability and the macro style. Not only belong to one individual, can also belong to a group. Different people have the same style. From a scientific perspective, style can be quantified, the introduction of style markers in the text, through the statistics of the original The frequency of a stylistic mark in the text, the quantitative analysis of some characteristics of the style. Therefore, the style can be imitated and can be grasped.
In traditional translation theory, the translator as "servant", "slave", the translator should be absolutely "loyalty" to the author in recent years; some people advocate: the translator is the "betrayal", from "slaves" to the "traitor" is from one extreme to the other extreme, "slave" on killing the translator the subject in the process of translation; and a "traitor" theory emphasizes the subjectivity of the translator, even to the extent of "betrayal". In fact, from the social perspective of translation activities, different social and cultural environment directly affects the translation activity the translator's personality, different age, age and region characteristics the translator has a variety of different regions, and these changes are reflected in different translations of different translations or the same works; secondly, from the perspective of Deconstruction Translation Theory, the relationship between the original and the translation, can not pass Traditional translation theory advocates "mode - copy", but equal, "symbiotic" relationship, through text translation is endowed with a new meaning, and get a new life. The translator is the subject of creation, the translated text is a new language, creating so that the translator is "creative traitor".
Literary translation as an art of "re creation", far beyond the traditional sense of "faithfulness", "equivalence" boundaries. The original style and translation style to achieve a unified completely is an unattainable ideal. Because of differences in language and culture, the translator and the author's knowledge structure, differences of artistic accomplishment and aesthetic ability the difference between the objective existence of the original style and the translator to understand the original style and the original style is untranslatable factors, the original style will be subject to damage and injury to a certain extent in the process of translation. Any successful style translation will inevitably have some degree of distortion and aliasing. This also objectively the formation of "creative translation and translation style to provide space.
From the dialectical point of view, the original style and the style of translation are the two aspects of the same contradiction. The transmission of the original style is the key point and the main aspect of the contradiction. Though to a large extent, the style of the translation works.

【学位授予单位】：吉林大学
【学位级别】：硕士
【学位授予年份】：2006
【分类号】：I046

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