顺应论视角下《牡丹亭》英译之创造性叛逆现象研究

发布时间：2018-01-03 13:37

本文关键词：顺应论视角下《牡丹亭》英译之创造性叛逆现象研究　出处：《湖南大学》2011年硕士论文　论文类型：学位论文

【摘要】：长久以来，在翻译界，我们一直把“忠实”奉为翻译实践中的终极标准。然而，在很多情况下，尽管我们为了达到此目标而竭尽了全力，情况却依然不容乐观。那么究竟怎样才能使译者能够更准确地传达原文的信息和意境呢？除了“忠实”以外，翻译是不是还存在一些别的现象和标准呢？本文试图对这些问题做一些尝试性的探讨和分析，以此来使读者更加准确地理解翻译中存在的一些客观现象并对翻译标准有一些新的理解。此外，它使我们更加关注译者的主体创造性，承认译者在翻译活动中所做的成果和贡献。此论文试图从顺应论角度对我国古典戏剧奇葩—《牡丹亭》英译过程中的创造性叛逆现象做一尝试性分析。创造性叛逆，首先是由法国比较文学学者埃斯卡皮于1958年所提出的。创造性指的是译者为重现原作艺术魅力而所作的主观努力，而叛逆性则是指由于各种因素而造成的译作对原作的客观背离。由于文学翻译一些独特的特点及美学价值等因素，创造性叛逆在文学翻译中表现得尤为明显。作为中国古典戏剧的优秀代表之一，《牡丹亭》自然而然地带有中国传统文化的印记，那么这些独特的文化意境在翻译过程中发生了哪些创造性叛逆？为什么会出现这些创造性叛逆现象呢？本论文立足于这些研究问题，试图通过对原文和译文（汪榕培译本）的对比，来归纳这些创造性叛逆现象并在顺应论的框架下对这些现象出现的原因做一下具体分析。此外，本文还对创造性叛逆与忠实的关系进行了一些尝试性的解释和分析。通过研究发现：《牡丹亭》翻译中确实存在着各种各样的创造性叛逆现象，这些现象在语境层次和结构层次上都有所体现。通过对这些创造性叛逆现象进行归纳分类并从顺应论角度详细地进行了探讨性分析，得出产生这些现象的原因如下：顺应论中所提出的语言的变异性，商讨性和顺应性为创造性叛逆提供了可能性和前提；为了满足目的语读者的理解要求而实现的语境关联和结构客体上的顺应来则为创造性叛逆现象的发生提供了客观必然性。此外，，通过这些现象及原因的分析，使读者对“忠实”和创造性叛逆之间的关系有更深刻的了解。我们认识到：虽然在表层形式上与忠实有一些冲突，有时为了顺应译入语读者的接受水平及阅读习惯会不可避免地出现一些创造性叛逆，但是客观上讲，创造性叛逆是对“忠实”一种必要性的补充。创造性叛逆和忠实具有相同目的：即最大限度地实现原文准确的传达，使目的语读者能够更容易地理解原文并感受中国古典文化的独特魅力。两者相辅相成才能确保文学翻译能够取得更好的结果。
[Abstract]:For a long time, we have regarded "faithfulness" as the ultimate standard in translation practice. However, in many cases, we have tried our best to achieve this goal. However, the situation is still not optimistic. How on earth can the translator convey the message and artistic conception of the original text more accurately? Besides "faithfulness", are there some other phenomena and standards in translation? This paper attempts to make some tentative exploration and analysis of these problems in order to make readers understand more accurately some objective phenomena in translation and have some new understanding of translation standards. It makes us pay more attention to the subjective creativity of the translator and acknowledge the achievements and contributions made by the translator in translation activities. This thesis attempts to analyze the phenomenon of creative treason in the process of translation of Peony Pavilion from the perspective of adaptation theory. The first one was put forward by the French comparative literature scholar Eskapi in 1958. Creativity refers to the translator's subjective efforts to recreate the artistic charm of the original work. Treason refers to the objective deviation from the original due to various factors, such as the unique characteristics and aesthetic value of literary translation. Creative treason is especially evident in literary translation. As one of the outstanding representatives of Chinese classical drama, Peony Pavilion naturally bears the imprint of Chinese traditional culture. So what kind of creative treason has taken place in the process of translation? Why do these creative rebellions occur? Based on these research questions, this thesis attempts to compare the original text with the translation (Wang Rongpei's translation). To sum up these creative rebellious phenomena and in the framework of adaptation theory to make a specific analysis of the causes of these phenomena. In addition. This paper also gives some tentative explanations and analyses on the relationship between creative treason and faithfulness. It is found that there are various kinds of creative treason in the translation of Peony Pavilion. These phenomena are embodied in both the context and structure levels. Through the induction and classification of these creative rebellious phenomena, this paper makes a detailed analysis from the perspective of adaptation theory. The reasons for these phenomena are as follows: the linguistic variability, negotiation and adaptability proposed in adaptation theory provide the possibility and premise for creative treason; The contextual relevance and the adaptation on the structural object in order to meet the readers' understanding requirements provide the objective inevitability for the occurrence of the creative treason phenomenon. In addition, through the analysis of these phenomena and the reasons. Let the reader have a deeper understanding of the relationship between "faithfulness" and creative treason. We realize that although there are some conflicts between surface forms and faithfulness. In order to conform to the target readers' acceptance level and reading habits, some creative rebellions will inevitably occur, but objectively speaking. Creative treason is a supplement to the necessity of "faithfulness". Creative treason and faithfulness have the same purpose: to maximize the accurate communication of the original text. Only by making it easier for the target language readers to understand the source text and feel the unique charm of Chinese classical culture, can the two be complementary to each other in order to ensure that literary translation can achieve better results.
【学位授予单位】：湖南大学
【学位级别】：硕士
【学位授予年份】：2011
【分类号】：H315.9;I046

【参考文献】