从《飘》的两个中译本论文学翻译中译者的主体性

发布时间：2018-05-29 01:34

本文选题：阐释学 + 接受美学理论　；参考：《华中师范大学》2004年硕士论文

【摘要】： 本文拟从阐释学与接受美学的角度探讨在文学翻译中译者的主体性的具体表现。阐释学(hermeneutics)可以表述为一门对于意义的理解和揭示的理论或哲学。在翻译研究中阐释学经常用来解释并指导翻译活动。阐释学发展的第一阶段是本文阐释学(textual hermeneutics)。其第二阶段是浪漫主义阐释学，其代表是施莱尔马赫，他确定了阐释学的基本范畴：对文本的解释和说明。其第三阶段是现代阐释学，其代表人物是海德格尔和伽达默尔。海德格尔认为，阐释中重要的是人作为阐释者的存在。伽达默尔认为，任何理解都是一种具有时间体系的评价，没有绝对的客观性的认识，一部作品原作者的意识并不重要，重要的是我们如何看待原作品的意识。理解活动是个人视野与历史视野的融合，文学翻译是主体间(译者和原作者)通过对象(文本)的互相沟通，对话。从阐释学的角度来看：同一部作品可以拥有各方面不相上下众多的译本；翻译的主体活动具备了艺术创造的空间。当代接受美学的基石是“期待视野”和“视野融合”。期待视野是指在阅读中读者原先各种理想、经验、趣味、素养等综合形成的对文学作品的一种欣赏要求和欣赏水平。读者不是消极被动地接受文本，而是能动的参与者。有两个原因导致不同读者对作品有不同的甚至差别较大的理解、解释和评价：一是读者所处的文化范式、审美标准、文化价值取向，，以及其个人审美情趣、文学气质、认知能力等方面的差异；二是作品的“潜在意义”不可能一下子呈现出来，只能逐渐被读者发现。视野融合是指在阅读过程中，读者不断积极地填充作者留给我们的“空白”和“未定点”，理解作品的潜在含义，并试图完全理解作品的“未定点”。姚斯是接受美学的主要代表。他的主要观点是：文学作品不经阅读就没有任何意义，也没有生命力，正是读者的阅读理解才赋予了作品以无穷的意义，其价值才从中体现出来。作品的效果是由作品自身的道德内涵与美学内涵，以及读者能动的接受意识两个因素组成的，后者是决定因素，由于时空和读者的改变而不同，因此不可能有恒定的效果。最后，读者在审美活动的接受过程中与作品通过对话得到统一，即“视野融合”。综上所述，原作者在写完他的作品之后，就已经完成了自己的使命。对译者来说，“作者己经死了”，译者有权对原著做出自己的阐释。只有译者才是翻译艺术审美价值得以实现的唯一途径;翻译的实质是译者主体能动的理解阐释过程。译者的主体性实际上是指译者在翻译过程中体现的一种自觉的人格意识及其在翻译过程中的一种创造意识。它表现在译者接受原著过程中的主体性。这首先体现在译者选材的主体性上。任何一种翻译活动都离不开译者对原作的再认识和理解。因此，每个译者的理解方式以及对文本内容的理解就会出现不同之处。本文还进一步阐述译者在体现主体性的同时也受到社会历史、政治文化、意识形态等因素的潜意识操控。译者可以发挥自身的艺术才能和一定的主观性，但同时他还必须要尽量地忠实于原著，自觉地用原著来约束自己。本文以《飘》的两个不同时期的中文版本为实例充分论证了译者的主体性。最后文章得出如下结论:文学作品的意义在某种程度上是不确定的，由于译者的介入，完全视野融合是不可能的，只有最大程度上的视野融合才是可行的; 名著在不同时期的重译应受到鼓励;译者在发挥主体性的同时还受到多种因素的制约。
[Abstract]:From the perspective of Hermeneutics and receptive aesthetics, this paper intends to discuss the specific manifestation of the translator's subjectivity in literary translation. Hermeneutics (Hermeneutics) can be expressed as a theory or philosophy for understanding and revealing meaning. In translation studies, hermeneutics is often used to explain and guide translation activities.
The first stage of the development of hermeneutics is the Hermeneutics (textual Hermeneutics). The second stage of the hermeneutics is the romantic hermeneutics, whose representative is Schleiermacher. He determines the basic category of Hermeneutics: the interpretation and explanation of the text. The third stage is the modern hermeneutics, whose representative is Heidegger and gamma Heidegger. It is believed that the important thing in the interpretation is the existence of the interpreter. Gadamer believes that any understanding is a kind of time system, without absolute objectivity, the consciousness of the original author of a work is not important, the important thing is how we look at the consciousness of the original work. In the perspective of hermeneutics, the same works can have many different translations, and the main activities of translation have the space of artistic creation.
The cornerstone of contemporary reception aesthetics is "expectation horizon" and "vision fusion". The expectation horizon refers to an appreciation requirement and appreciation level for literary works, which are formed by readers' original ideal, experience, taste and accomplishment in reading. The reader is not passively accepting the text, but the active participant. There are two reasons for it. To different readers, different readers have different or even greater differences in understanding, interpretation and evaluation: one is the cultural paradigm, aesthetic standards, cultural value orientation of the readers, and the differences in their personal aesthetic interest, literary temperament, and cognitive ability. Two, the "latent meaning" of the works can not be presented at a sudden, only gradually. In the process of reading, the reader is constantly actively filling in the "blank" and "unfixed", understanding the potential meaning of the work, and trying to fully understand the "unfixed".
Yao is the main representative of reception aesthetics. His main point is that literary works have no meaning and no vitality without reading. It is the reader's reading comprehension that endows the works with infinite meaning and its value is reflected from it. The effect of the works is the moral connotation and aesthetic connotation of the works, as well as the readers. The active acceptance of consciousness is composed of two factors. The latter is the determinant, which is different from the change of time and space and the reader. Therefore, it is impossible to have a constant effect. Finally, the reader is in the process of accepting the aesthetic activities with the works.
Dialogue is unified, that is, "vision integration".
To sum up, the original author has completed his mission after finishing his work.
For example, "the author is dead," and the translator has the right to make his own interpretation of the original work.
The only way to realize the aesthetic value of translation is the essence of translation, which is the process of interpretation and interpretation of the translator's subjectivity.
Translators' subjectivity refers to a conscious personality consciousness reflected by translators in the process of translation.
In the process of translation, a sense of creation is manifested in the subjectivity of the translator in accepting the original work.
It is reflected in the subjectivity of the translator's selection. Any translation activity is inseparable from the translator's re understanding of the original work.
Therefore, each translator's understanding way and understanding of text content will be different.
This paper further expounds that while the translator is embody subjectivity, it is also influenced by social history, political culture and meaning.
The translator can exert his artistic talent and subjectivity, but he can exert his artistic talent and subjectivity.
At the same time, he must try his best to be faithful to the original work and consciously restrain himself by using the original work.
Taking the Chinese version of two different periods of "gone with the wind" as an example, this paper fully demonstrates the subjectivity of the translator.
Finally, the article concludes that the meaning of literary works is uncertain to a certain extent.
It is impossible to integrate the whole field of vision, and only the greatest degree of integration of vision is feasible.
The translation of masterpieces in different periods should be encouraged.
Restriction.
【学位授予单位】：华中师范大学
【学位级别】：硕士
【学位授予年份】：2004
【分类号】：I046

【引证文献】