节奏视角下小说《亚米拿达》的法汉翻译实践报告
发布时间：2018-11-10 18:12
【摘要】：南京大学出版社自2014年起着手出版"莫里斯·布朗肖作品集",笔者在导师的推荐下翻译了其中的一部长篇小说《亚米拿达》。本文是这部小说的翻译实践报告。小说的作者莫里斯·布朗肖被誉为法国20世纪最重要的思想家之一,他刻意远离聚光灯,为文学保持其必须的"沉默",对巴塔耶、德里达、巴特、德勒兹等人都产生了重要的影响。《亚米拿达》是布朗肖的早期作品,比起后期的作品,它在背景和情节上相对比较丰富,人物显现出较为鲜明的性格,然而,作为布朗肖思想的投射,这部小说无论是在立意还是呈现形式方面,都呈现出晦涩而奇诡的风格。为了突显布朗肖这种隐藏于作品立意以及呈现形式之后的独特性,笔者以法国理论家梅肖尼克的节奏观为视角进行了翻译实践。梅肖尼克在其翻译诗学中批判了形式与意义的二元对立,认为形式与意义统一于"节奏","节奏"是话语的组织方式。梅肖尼克的节奏观为翻译提供了一个新的视角。本文分为五章。第一章介绍本次翻译任务的由来和文本特色。第二章简述翻译过程。第三章首先阐明"节奏"这一概念,强调节奏是主体对话语的组织方式;节奏是话语的基本现实,它不局限于诗歌,不等同于格律,它不是形式的空壳,而是文本的句法、标点、韵律、叙述方式等方方面面的组织者;梅肖尼克所指的节奏并非感性、模糊的描述,而是通过客观、确切、可论证的手段分析而来的。在阐明"节奏"概念的基础上,第三章还讨论了"节奏"翻译在文学翻译中的必要性和可能性。首先,译者必须跳脱出语义、词语的观念,着力把握原文节奏,以保持原文的特质。其次,许多译者都能感知到文学作品中的节奏并有意识地将它翻译出来,而通过更加理性的节奏分析方法,译者对节奉的认知和翻译会更加准确。在第四章中,笔者结合实践案例,从语音、语义、书写这三个方面分析了节奏的表现形式和效果,并试图在译文中再现具体的节奏。最后,笔者对翻译过程中的思考成果进行了总结,节奏观对翻译方法和伦理认识都有新的启发:在翻译方法上,节奏观绕过了 "形"与"意"这一对矛盾,为译者处理文本提供了新的依据;在伦理认识上,节奏观要求译者采取开放包容的态度,尊重和信任文本的特殊性,使原作的生命力在译文中得到延续。本文通过对此次翻译实践系统性的回顾,意在实现翻译经验的理论化的积累,为笔者未来的翻译工作提供有价值的思路与方法。
[Abstract]:Since 2014, Nanjing University Press has published Maurice Brownshaw's works. Under the recommendation of his tutor, the author has translated one of the novels, Amminada. This paper is a practical report on the translation of this novel. The author of the novel, Maurice Brownshaw, is hailed as one of the most important thinkers of the 20th century in France. He deliberately kept his "silence" for literature away from the spotlight, to Bataye, Derrida, Bart, "Amminada" is the early work of Brownshaw, which is relatively rich in background and plot than in later works, and the characters show a more distinct character, however, As a projection of Brownshaw's thoughts, the novel presents an obscure and bizarre style both in its conception and in its form. In order to highlight the uniqueness of Brownshaw's hidden ideas and forms, the author carries out translation practice from the perspective of French theorist Meschonique's rhythm view. In his translation poetics, he criticizes the dualistic opposition between form and meaning, arguing that form and meaning are unified in rhythm, and rhythm is the organization of discourse. The Rhythm view of Mercionik provides a new perspective for translation. This paper is divided into five chapters. The first chapter introduces the origin of the translation task and the characteristics of the text. Chapter two briefly describes the process of translation. The third chapter first clarifies the concept of "rhythm", emphasizing that rhythm is the organization of subject to discourse; Rhythm is the basic reality of discourse. It is not limited to poetry, nor is it equivalent to rhythm. It is not the shell of form, but the organizer of every aspect of the text, such as syntax, punctuation, prosody, narrative style and so on. The rhythm referred to by Messunik is not a perceptual, vague description, but an objective, accurate, and demonstrable means of analysis. On the basis of expounding the concept of "rhythm", chapter three also discusses the necessity and possibility of "rhythm" translation in literary translation. First of all, the translator must jump out of the concept of semantics and words, and try to grasp the rhythm of the original to maintain the characteristics of the original. Secondly, many translators can perceive the rhythm of literary works and consciously translate it out, and through more rational rhythm analysis, the translator's cognition and translation of stanza will be more accurate. In the fourth chapter, the author analyzes the expression form and effect of rhythm from three aspects of pronunciation, semantics and writing, and tries to reproduce the specific rhythm in the translation. Finally, the author summarizes the thinking achievements in the process of translation. The Rhythm Theory has new implications for translation methods and ethical understanding. In terms of translation methods, Rhythm Theory bypasses the contradiction between "form" and "meaning". It provides a new basis for the translator to deal with the text; In terms of ethics, rhythm requires the translator to adopt an open and inclusive attitude, to respect and trust the particularity of the text, so that the vitality of the original works can be continued in the translation. Through a systematic review of this translation practice, this paper aims to achieve the theoretical accumulation of translation experience and provide valuable ideas and methods for the author's translation work in the future.
【学位授予单位】：南京大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：H32;I046
本文编号：2323227
[Abstract]:Since 2014, Nanjing University Press has published Maurice Brownshaw's works. Under the recommendation of his tutor, the author has translated one of the novels, Amminada. This paper is a practical report on the translation of this novel. The author of the novel, Maurice Brownshaw, is hailed as one of the most important thinkers of the 20th century in France. He deliberately kept his "silence" for literature away from the spotlight, to Bataye, Derrida, Bart, "Amminada" is the early work of Brownshaw, which is relatively rich in background and plot than in later works, and the characters show a more distinct character, however, As a projection of Brownshaw's thoughts, the novel presents an obscure and bizarre style both in its conception and in its form. In order to highlight the uniqueness of Brownshaw's hidden ideas and forms, the author carries out translation practice from the perspective of French theorist Meschonique's rhythm view. In his translation poetics, he criticizes the dualistic opposition between form and meaning, arguing that form and meaning are unified in rhythm, and rhythm is the organization of discourse. The Rhythm view of Mercionik provides a new perspective for translation. This paper is divided into five chapters. The first chapter introduces the origin of the translation task and the characteristics of the text. Chapter two briefly describes the process of translation. The third chapter first clarifies the concept of "rhythm", emphasizing that rhythm is the organization of subject to discourse; Rhythm is the basic reality of discourse. It is not limited to poetry, nor is it equivalent to rhythm. It is not the shell of form, but the organizer of every aspect of the text, such as syntax, punctuation, prosody, narrative style and so on. The rhythm referred to by Messunik is not a perceptual, vague description, but an objective, accurate, and demonstrable means of analysis. On the basis of expounding the concept of "rhythm", chapter three also discusses the necessity and possibility of "rhythm" translation in literary translation. First of all, the translator must jump out of the concept of semantics and words, and try to grasp the rhythm of the original to maintain the characteristics of the original. Secondly, many translators can perceive the rhythm of literary works and consciously translate it out, and through more rational rhythm analysis, the translator's cognition and translation of stanza will be more accurate. In the fourth chapter, the author analyzes the expression form and effect of rhythm from three aspects of pronunciation, semantics and writing, and tries to reproduce the specific rhythm in the translation. Finally, the author summarizes the thinking achievements in the process of translation. The Rhythm Theory has new implications for translation methods and ethical understanding. In terms of translation methods, Rhythm Theory bypasses the contradiction between "form" and "meaning". It provides a new basis for the translator to deal with the text; In terms of ethics, rhythm requires the translator to adopt an open and inclusive attitude, to respect and trust the particularity of the text, so that the vitality of the original works can be continued in the translation. Through a systematic review of this translation practice, this paper aims to achieve the theoretical accumulation of translation experience and provide valuable ideas and methods for the author's translation work in the future.
【学位授予单位】：南京大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：H32;I046
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