从哲学阐释学角度论《卖花女》两个中译本的译者主体性

发布时间：2018-03-06 21:30

本文选题：译者主体性　切入点：阐释学　出处：《四川师范大学》2013年硕士论文　论文类型：学位论文

【摘要】：二十世纪五六十年代的语言学理论时期,翻译研究注重从原语系统出发,追求忠实于原文本的目的语文本,译者的主体地位很大程度上受到了忽略。随着二十世纪七十年代“文化转向”的提出,译者的主体地位及主体性受到了关注。哲学阐释学提出的理解的历史性、视域融合和效果历史等三大原则对译者的主体性研究提供了新的视角。哲学阐释学证明了翻译既不是对原文的复制,也不是译者随心所欲的创造,而是译者站在自身的历史时代与原文作者的一次对话交流。 Pygmal i on,是萧伯纳的经典之作,迄今为止先后有两位译者翻译了这部作品,一位是林语堂,其《卖花女》译于民国初期,于1936年出版。另一位是杨宪益,其《卖花女一五幕传奇剧》复译于改革开放以后的新时期,于1982年出版。一直以来,Pygmalion的中译本虽然受到了很多学者的关注,但是由于这部作品属于戏剧,很多学者都专注于研究译本的戏剧性特点,以及译者如何更好地翻译这部戏剧；然而,关于为什么不同时期同一部作品会出现不同的译本,以及不同译本中所体现出的不同的译者主体性却很少受到关注。本文试图以哲学阐释学中理解的历史性、视域融合和效果历史为理论依据,从翻译历时性角度探讨英国著名戏剧家萧伯纳的Pygmalion两个中译本在不同时期所体现的译者主体性。研究表明：首先,由于翻译的不同时代性和翻译主体的目的不同,Pygmalion两个中译本呈现了不同的翻译策略。林语堂在新文化时期为了传播西方的新文化和新思想,采用了以异化为主的翻译策略；而杨宪益在改革开放新时期为了促进中西方文学作品的交流,采用了以归化为主的翻译策略。第二,对文本的解释不是固定不变的,即使是通俗易懂,短小精干的戏剧文本也并不存在唯一的解释,Pygmalion两个中译本体现了不同时代的译者对同样的台词有不同的理解。第三,从不同时期的两个中译本中用词和表达的不同,可以折射出不同译者当时所处的社会环境和价值观念的不同。
[Abstract]:In 20th century, during the period of linguistic theory in the 1950s and 1960s, translation studies focused on the original language system and sought to be faithful to the target language version of the original text. The translator's subjective position is largely ignored. With the introduction of "Cultural turn" in 1970s, the translator's subject position and subjectivity have attracted much attention. The three principles of visual integration and effect history provide a new perspective for the study of the translator's subjectivity. Philosophical hermeneutics proves that translation is neither a copy of the original nor a creation of the translator at will. It is a dialogue and exchange between the translator and the author in his own historical era. Pygmal I on, a classic by Bernard Shaw, has been translated by two translators so far. One is Lin Yutang, whose Flower Girl was translated in the early Republic of China and published in 1936. "the Flower Girl 15 acts Legend" was retranslated in the new period after the reform and opening up and published in 1982. Although the Chinese translation of Pygmalion has attracted the attention of many scholars, but because this work is a drama, Many scholars have focused on the dramatic features of the translation and how the translator can better translate the play; however, why different versions of the same work appear at different times, And the different translator subjectivity embodied in different versions is seldom paid attention to. This paper attempts to take the historical understanding, horizon fusion and effect history in philosophical hermeneutics as the theoretical basis. From the perspective of diachronic translation, this paper discusses the translator's subjectivity in the two Chinese versions of Pygmalion by famous British dramatist Bernard Shaw in different periods. First of all, due to the different times of translation and the different purposes of translation subjects, the two Chinese versions of Pygmalion present different translation strategies. Lin Yutang in the new culture period in order to spread the Western new culture and new ideas. In order to promote the exchange of literary works between China and the West, Yang Xianyi adopted the translation strategy of domestication. Secondly, the interpretation of the text is not fixed. Even if it is easy to understand, there is not a single explanation for short, skilful drama texts. Pygmalion's two Chinese versions reflect different interpretations of the same lines by translators of different times. The differences in terms and expressions in the two Chinese versions in different periods can reflect the differences in the social environment and values of the different translators at that time.
【学位授予单位】：四川师范大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：H315.9;I046

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