译介学视阈下虹影《饥饿的女儿》及英译本对比研究
发布时间：2018-07-24 20:22
【摘要】： 虹影是在祖国大陆之外笔耕不辍终获海内外文化届和读者认可的海外华人作家之一。研究虹影代表作之一《饥饿的女儿》与美国汉学家葛浩文(Howard Goldblatt)英译本Daughter of the River在国内外的接受必然涉及对原文,作者和评论以及英译本,译者和英译本评论的研究。早在原本获得大陆出版社认可前,《饥饿的女儿》英译本就在海外广受关注;中文本在国内热销些许受其在国外倍受瞩目的影响,然而事实上英译本Daughter of the River在国外并不如所宣传地那么成功,探究其间的差异是本文的主要目标。在收集研究可靠资料的基础上,本文深入探讨导致相互矛盾的事实和观点的原因。 长久以来,翻译被誉为沟通各国语言,文化和民族间的桥梁。文学翻译本身不仅是一项艺术,同时也是向异国文化的新读者群传达原作者意图的有益尝试。然而在此过程中,译者可能在译作中投射个人的意识形态并且操控文学翻译。因此,文学翻译受到来自源语和目的语双方文化的共同影响。 本文由三个部分组成。第一部分介绍了译介学,多元系统论及图里(Gideon Toury),赫尔曼斯(Theo Hermans)对多元系统理论的发展创新和勒菲弗尔(Lefevere)的重写和操控论。译介学是本文的理论研究框架,多元系统理论及重写和操控论是本文主题的理论依据。译介学糅合了翻译研究和比较文学研究;多元系统理论是二十世纪西方文艺批评理论发展分支之一,强调对翻译文学的研究。该部分旨在阐释翻译批评的文化转向,为本文的研究工作提供理论依据。 论文第二部分检视了批评家、读者,译者和作者对《饥饿的女儿》原文本和英译本的观点和评论,尝试得出如下结论:出版商非常清楚职业批评家们对购书者的影响,对翻译和译者加以约束,因此意识形态和经济效益比诗学更为重要。另外,文章通过一些中国批评家的评论揭示了大陆的赞助者以及他们的意识形态是如何阻滞了海外华人文学作品在国内的接受:海外华人文学被认为处于文化中国的边缘,只有当作为世界文化中心的西方发现它们甚至按照他们的意识形态进行翻译和误读的时候,文化中国的中心(中国大陆)才认识到并开始承认它们的价值。然而,矛盾的事实是:与英译本Daughter of the River在英美销售不畅形成巨大反差的是中文原作《饥饿的女儿》在中国大陆热销不衰。 委托翻译或出版译本,支持、限制或制约译者的人或机构—赞助者,即是出版商。出版商把他们对译文的唯一评价标准—销售业绩,隐藏起来,冠之以读者的名义。西方出版商的利润仅仅来源于市场,因此出版商不仅要考虑读者的倾向,而且要把满足读者当作第一要务,因而使得译作有可能不忠实于原作—因为,为了赢得读者,译者会受读者倾向的制约。 无论以何种语言写作,作者通常把目标读者作为作品唯一的读者。中国作家以英语写成的中国故事不会把汉语读者当作目标读者,如果中国人来评论,一定会发现不少冗长累赘之处。相反,中国作家以中文写成的中国故事不会把英语读者当作目标读者,把这样的作品不加调整原封不动地翻译成英文肯定会使英语读者觉得晦涩难懂。他们二者的目标都是读者。满足他们的读者意味着作品获得接受,承认和认可,因此读者能选中并购买他们的作品。对出版商而言,隐藏在目标读者身后的是读者可以带给他们的,成功推销该产品后丰厚的收益。简而言之,畅销书的作者和译者,即重写者,都受到他们的赞助人所设定的系统的制约或推动。 本文的第三部分主要研究《饥饿的女儿》原文版与英译本,探索英译本质量是否不佳以及采取这样或那样的翻译方式的原因。在对源语文本和目的语文本比较细读过程中,作者发现了译者对原本的增译,减译,删译甚至误译,这些改译体现了译者在翻译过程中的倾向。读者为导向的原则贯穿译者的翻译战略和策略中,如此这般改写的原因是译者,即改写者,为了适应读者的习惯,倾向和喜好从而采用更易为读者所接受的表达方法。目标读者是文学作品的原作者和译者的写作或重写的目的。 在谢天振提出的译介学的理论框架基础上,本文的描述性研究探讨了关于《饥饿的女儿》原文本与英译本Daughter of the River读者接受大相径庭的原因。通过对原文与译文的比较研究,本文揭示了译者的原则,这一原则引出了本文的结论:译本不可能与原本完全一致,受制于目的语文化中赞助的译本必定涉及重写和操纵。无论译者如何努力,译本的目标读者才是最终的评判。对于西方出版商而言,《饥饿的女儿》英文版Daughter of the River销售业绩不佳不是如Toby Eady所称因为译本质量问题,或是被一个“不懂调”的译者毁掉了,而是因为读者不够耐心,缺乏对中国历史的必要了解,以及接受来自边缘异域文化的开放心态。所以目标语读者是不同于源语读者的,因为前者可能受制于自身的局限性而不能像源语读者欣赏原作一般充分欣赏译作。 本文作者的创新之处在于通过对《饥饿的女儿》原文本和英译本Daughter of the River的描述性对比研究,指出在翻译中为了赢得与原文同等的接受程度译文必须与原文完全一致这一误区。翻译文学需要心灵开放,乐于接受新鲜事物和异域文化有适当教育背景的读者才能引起共鸣,获得与原文本在母语读者中相似的反响。
[Abstract]:Hong Ying is one of the overseas Chinese writers who have been in the home and outside the mainland to win the international and international cultural and readers' recognition. One of the studies of "the daughter of hunger", one of the representative works of Hong Ying, and the English version of the American Sinologist Ge Haowen (Howard Goldblatt), Daughter of the River at home and abroad, are bound to involve the original text, the author and the comments and the English translation. Prior to the approval of the mainland publishing house, "the starving daughter > English version" was widely concerned abroad; the Chinese version of the Chinese version was greatly influenced by its foreign attention in the domestic market. However, in fact, the English version of Daughter of the River is not as successful as it has been advertised. Differences are the main objective of this paper. On the basis of collecting reliable data, this paper explores the causes of conflicting facts and opinions.
For a long time, translation is known as a bridge between languages, cultures and nations. Literary translation itself is not only an art, but also a useful attempt to convey the original author's intention to the new readers of foreign cultures. In this process, the translator may project a personal ideology and manipulate literary translation in the translation. Literary translation is influenced by both source and target cultures.
This article is composed of three parts. The first part introduces the theory of translation, multiple systems, Gideon Toury, Herman (Theo Hermans), the theory of multiple systems and the rewriting and manipulation of Lefebvre (Lefevere). Translation is the theoretical framework of this article. The theory of multiple systems and the rewriting and manipulation are the main points of this article. The theoretical basis of the topic. Translation studies combine translation studies and comparative literature research; multi system theory is one of the branches of the development of western literary criticism in the twentieth Century, emphasizing the study of translation literature. This part aims to explain the cultural turn of translation criticism and provide a theoretical basis for the work of this article.
The second part of the paper examines the views and comments of critics, readers, readers, translators and authors on the "hungry daughter", the original and the English version, and tries to draw the following conclusions: the publisher is very clear about the influence of the professional critics on the booksellers and the translation and translators, so the ideological and economic benefits are more important than the poetics. The article, through the comments of some Chinese critics, reveals how mainland Chinese sponsors and their ideologies have blocked the domestic acceptance of overseas Chinese Literature: Overseas Chinese literature is considered to be on the edge of cultural China, and only when the western side of the world culture center finds them even according to their ideology. At the time of translation and misreading, the center of cultural China (China mainland) realized and began to recognize their value. However, the paradox was that the Chinese version of Daughter of the River, which had a huge contrast with the British and American sales, was the Chinese original "the hungry daughter >" in the Chinese mainland.
A publisher who supports, supports, restricts, restricts, or restricts a translator's person or institution - a publisher. The publisher conceals the sole evaluation standard of the translation - the sales performance, and crowns the name of the reader. The profits of Western publishers are only from the market, so the publisher not only takes into account the reader's tendency, but the publisher's profit is only from the market. The first priority is to satisfy the reader, which makes it possible for the translated text to be unfaithful to the original, because, in order to win the reader, the translator is bound by the reader's inclination.
In any language, the author usually regards the target reader as the only reader. The Chinese story written in English by Chinese writers will not take the Chinese readers as the target reader. If the Chinese come to comment, they will find a lot of redundancy. On the contrary, Chinese stories in Chinese written in Chinese do not read English. As the target reader, the translation of such a work in English will certainly make English readers feel obscure. Their two aim is to be readers. To satisfy their readers means that the work is accepted, recognized and approved, so the reader can choose and buy their works. For publishers, it is hidden. The target reader is behind what readers can bring to them, the successful sales of the product. In short, the authors and translators of the best sellers, the rewriters, are constrained or driven by the system set by their patrons.
In the third part of this paper, the author mainly studies the daughter of hunger, the original version and the English version, to explore the reasons for the poor quality of the English version and the reason for such a translation. In the process of reading the source language and the target language, the author finds the translator's original translation, subtraction, deletion and even misinterpretation, which are reflected in the translation. The reader oriented principle runs through the translation strategy and strategy of the translator. The reason for this rewriting is the translator, the rewriter, in order to adapt to the readers' habits, tendencies and preferences, the reader is the author and translator of the literary works. The purpose of writing or rewriting.
On the basis of the theoretical framework of Xie Tianzhen's translation theory, the descriptive study of this paper discusses the reasons why the daughter > the original version of "hunger" and the English version of Daughter of the River are quite different. It is impossible to agree completely with the original. The translated version, which is sponsored by the target language culture, must involve rewriting and manipulation. No matter how hard the translator tries, the target reader is the final judge. For Western publishers, the poor sales performance of the hungry daughter > English version of Daughter of the River is not as described as the translation of Toby Eady. This quality problem is destroyed by a translator who is "not understood", but because the reader is not patient, lacking a necessary understanding of Chinese history, and accepting an open mind from a marginal foreign culture. So the target reader is different from the source language reader, because the former may be subject to its own limitations rather than the source language. The reader appreciates the original and appreciates the translation.
The author's innovation lies in the descriptive contrastive study of the "hungry daughter", the original version of the original and the English version of Daughter of the River, pointing out that the translation of the same degree of acceptance in order to win the same degree of acceptance must be completely consistent with the original text. Translation literature needs to be open and open to fresh and foreign language. Only those readers with appropriate educational backgrounds can arouse resonance and obtain similar responses to the original text among native speakers.
【学位授予单位】：西南财经大学
【学位级别】：硕士
【学位授予年份】：2008
【分类号】：H315.9;I046
本文编号：2142550
[Abstract]:Hong Ying is one of the overseas Chinese writers who have been in the home and outside the mainland to win the international and international cultural and readers' recognition. One of the studies of "the daughter of hunger", one of the representative works of Hong Ying, and the English version of the American Sinologist Ge Haowen (Howard Goldblatt), Daughter of the River at home and abroad, are bound to involve the original text, the author and the comments and the English translation. Prior to the approval of the mainland publishing house, "the starving daughter > English version" was widely concerned abroad; the Chinese version of the Chinese version was greatly influenced by its foreign attention in the domestic market. However, in fact, the English version of Daughter of the River is not as successful as it has been advertised. Differences are the main objective of this paper. On the basis of collecting reliable data, this paper explores the causes of conflicting facts and opinions.
For a long time, translation is known as a bridge between languages, cultures and nations. Literary translation itself is not only an art, but also a useful attempt to convey the original author's intention to the new readers of foreign cultures. In this process, the translator may project a personal ideology and manipulate literary translation in the translation. Literary translation is influenced by both source and target cultures.
This article is composed of three parts. The first part introduces the theory of translation, multiple systems, Gideon Toury, Herman (Theo Hermans), the theory of multiple systems and the rewriting and manipulation of Lefebvre (Lefevere). Translation is the theoretical framework of this article. The theory of multiple systems and the rewriting and manipulation are the main points of this article. The theoretical basis of the topic. Translation studies combine translation studies and comparative literature research; multi system theory is one of the branches of the development of western literary criticism in the twentieth Century, emphasizing the study of translation literature. This part aims to explain the cultural turn of translation criticism and provide a theoretical basis for the work of this article.
The second part of the paper examines the views and comments of critics, readers, readers, translators and authors on the "hungry daughter", the original and the English version, and tries to draw the following conclusions: the publisher is very clear about the influence of the professional critics on the booksellers and the translation and translators, so the ideological and economic benefits are more important than the poetics. The article, through the comments of some Chinese critics, reveals how mainland Chinese sponsors and their ideologies have blocked the domestic acceptance of overseas Chinese Literature: Overseas Chinese literature is considered to be on the edge of cultural China, and only when the western side of the world culture center finds them even according to their ideology. At the time of translation and misreading, the center of cultural China (China mainland) realized and began to recognize their value. However, the paradox was that the Chinese version of Daughter of the River, which had a huge contrast with the British and American sales, was the Chinese original "the hungry daughter >" in the Chinese mainland.
A publisher who supports, supports, restricts, restricts, or restricts a translator's person or institution - a publisher. The publisher conceals the sole evaluation standard of the translation - the sales performance, and crowns the name of the reader. The profits of Western publishers are only from the market, so the publisher not only takes into account the reader's tendency, but the publisher's profit is only from the market. The first priority is to satisfy the reader, which makes it possible for the translated text to be unfaithful to the original, because, in order to win the reader, the translator is bound by the reader's inclination.
In any language, the author usually regards the target reader as the only reader. The Chinese story written in English by Chinese writers will not take the Chinese readers as the target reader. If the Chinese come to comment, they will find a lot of redundancy. On the contrary, Chinese stories in Chinese written in Chinese do not read English. As the target reader, the translation of such a work in English will certainly make English readers feel obscure. Their two aim is to be readers. To satisfy their readers means that the work is accepted, recognized and approved, so the reader can choose and buy their works. For publishers, it is hidden. The target reader is behind what readers can bring to them, the successful sales of the product. In short, the authors and translators of the best sellers, the rewriters, are constrained or driven by the system set by their patrons.
In the third part of this paper, the author mainly studies the daughter of hunger, the original version and the English version, to explore the reasons for the poor quality of the English version and the reason for such a translation. In the process of reading the source language and the target language, the author finds the translator's original translation, subtraction, deletion and even misinterpretation, which are reflected in the translation. The reader oriented principle runs through the translation strategy and strategy of the translator. The reason for this rewriting is the translator, the rewriter, in order to adapt to the readers' habits, tendencies and preferences, the reader is the author and translator of the literary works. The purpose of writing or rewriting.
On the basis of the theoretical framework of Xie Tianzhen's translation theory, the descriptive study of this paper discusses the reasons why the daughter > the original version of "hunger" and the English version of Daughter of the River are quite different. It is impossible to agree completely with the original. The translated version, which is sponsored by the target language culture, must involve rewriting and manipulation. No matter how hard the translator tries, the target reader is the final judge. For Western publishers, the poor sales performance of the hungry daughter > English version of Daughter of the River is not as described as the translation of Toby Eady. This quality problem is destroyed by a translator who is "not understood", but because the reader is not patient, lacking a necessary understanding of Chinese history, and accepting an open mind from a marginal foreign culture. So the target reader is different from the source language reader, because the former may be subject to its own limitations rather than the source language. The reader appreciates the original and appreciates the translation.
The author's innovation lies in the descriptive contrastive study of the "hungry daughter", the original version of the original and the English version of Daughter of the River, pointing out that the translation of the same degree of acceptance in order to win the same degree of acceptance must be completely consistent with the original text. Translation literature needs to be open and open to fresh and foreign language. Only those readers with appropriate educational backgrounds can arouse resonance and obtain similar responses to the original text among native speakers.
【学位授予单位】：西南财经大学
【学位级别】：硕士
【学位授予年份】：2008
【分类号】：H315.9;I046
【引证文献】
相关硕士学位论文 前1条
1 张毅雄;《我的帝王生涯》英译本变异现象的文化研究[D];重庆师范大学;2012年
，本文编号：2142550
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