从变异学角度看沃森译苏轼诗词的创造性叛逆

发布时间：2018-01-16 21:34

本文关键词：从变异学角度看沃森译苏轼诗词的创造性叛逆　出处：《西南科技大学》2017年硕士论文　论文类型：学位论文

【摘要】：美国著名翻译家伯顿·沃森于1965年出版了《宋代诗人苏东坡诗文选译》,选译了苏轼各个时期代表性诗、词、赋和书信等作品,呼吁西方汉学界给予中国宋词及苏轼更多关注,引起了很大的反响,掀起了对苏轼研究的新高潮。从比较文学的变异学角度看沃森译苏轼诗词的创造性叛逆,关注语言层面的变异,发现沃森在翻译句法时,将苏诗主语的隐创造性地转换成英诗主语的显;创造性叛逆地把苏诗中的重叠形容词等静态词译成动词、副词等动态词,重构意象,再造意境;将苏诗对仗、对偶的平行结构变形成英诗的对等句式,达到平衡之美。在翻译篇章时,把冗长的题目省略,再造题目;添加标点以重构原诗意境;跨行连续以实现诗意的衔接与连续。翻译音律时,原诗词抑扬顿挫、节奏明快,二度变形中,译者灵活使用头韵、尾韵、声响词,再造音韵节奏,促使了作品的新生。文化层面的变异,对于原诗的典故,文化内涵词,创造性地使用加注、修辞手法、句式变换等,将东方文化含蓄、内敛的意境经过二度重构或变异,在西方文化模子里,表达为直接、外显的美感,再造东方文化神韵,实现了变异后增值的效果,在东西方不同文化审美层面上收到了异曲同工之妙。沃森在语言、文化上的创造性叛逆,一方面与译者个人的价值观、审美情趣、文学修养等密不可分,另一方面还要受到当时美国意识形态与诗学,赞助商的要求,读者的接受等的影响。本研究采用变异学研究创造性叛逆,打破了以往研究译者创造性叛逆的局限,试图把研究重点从一般性的对译者本人的关注转到了对文本传播的路径、方法、效果、原因、意义上,以拓宽创造性叛逆研究的视野,将文本研究和译者主体研究有效结合起来。
[Abstract]:In 1965, Berton Watson, a famous American translator, published the selected Poets of Su Dongpo, a poet of the Song Dynasty, which selected and translated Su Shi's poems, ci, poems, letters, and so on. It appeals to the western Sinology circle to pay more attention to Chinese Song ci and Su Shi, which has aroused a great response and set off a new climax in the study of Su Shi. From the perspective of variation of comparative literature, we can see the creative treason of Watson's translation of Su Shi's poems. Focusing on the variation of language level, it is found that Watson creatively converts the subject of Su poetry into the explicit expression of the subject in English poetry when translating syntax. The static words, such as reduplicative adjectives in Su's poems, are translated into dynamic words such as verbs and adverbs, so as to reconstruct images and recreate artistic conception. In order to achieve the beauty of balance, the parallel structure of Su poetry is transformed into the equivalent sentence structure of English poetry. Adding punctuation to reconstruct the artistic conception of the original poem; In order to realize the poetic cohesion and continuity, the original poetry is characterized by its cadence and rhythm. In the second degree deformation, the translator uses the alliteration, the ending rhyme, the sound word and the new rhyme rhythm. It promotes the new generation of works, the variation of cultural level, the allusions of the original poem, cultural connotations, creative use of notes, rhetorical devices, sentence changes and so on, which implies the oriental culture. After the second reconstruction or variation, the artistic conception of the inner convergence is expressed as a direct and explicit aesthetic feeling in the western cultural model, and the charm of the oriental culture is recreated, thus realizing the effect of adding value after the variation. On the one hand, Watson's creative rebellion in language and culture is closely related to the translator's personal values, aesthetic taste and literary accomplishment. On the other hand, it is also influenced by American ideology and poetics, the request of sponsors, the acceptance of readers and so on. It breaks the limitations of the previous researches on creative treason of translators, and attempts to shift the focus of research from the general focus on the translator himself to the path, method, effect, cause and meaning of text communication. In order to broaden the horizons of creative treason research, the text study and the translator subject study can be effectively combined.
【学位授予单位】：西南科技大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：I046;H315.9

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