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Hamlet汉译中译者的创造性叛逆

作　者: 马秀美
导　师: 边立红
学　校: 长沙理工大学
专　业: 外国语言学及应用语言学
关键词: 译者创造性叛逆 Hamlet 朱生豪卞之琳
分类号: H315.9
类　型: 硕士论文
年　份: 2009年
下　载: 229次
引　用: 0次
阅　读: 论文下载

内容摘要

传统翻译理论强调翻译以原作为中心,要求译者必须绝对忠实于原作者,不允许有任何创造性行为,因而译者的存在一直被忽视。二十世纪七十年代以来,西方翻译研究出现了“文化转向”,这一全新的研究范式突破了传统研究模式的规约性和片面性,强调对译作和译者的关注,从而使译者作为翻译主体的身份得以凸显。法国文学社会学家罗伯特·埃斯卡皮曾提出:翻译是一种创造性叛逆,进一步改变了以往的忠实翻译观。创造性指译者为接近和再现原作的主观努力,叛逆是译者为达到主观愿望而对原作的客观背离。在实际的文学翻译中,两者无法隔离,形成和谐的有机体。“创造性叛逆”是一个相对新颖的概念,具有广阔的研究空间。Hamlet是代表莎士比亚戏剧的巅峰之作,朱生豪和卞之琳的汉译本有着鲜明的个人风格,因此两者的结合具有一定的研究价值。本文首先追溯翻译史上专家学者对译者的有关论述以及翻译研究范式的转换,考察了“创造性叛逆”的内涵,梳理了中外学者对其研究状况,并借鉴哲学阐释学的理论探讨其产生的原因,进而把创造性叛逆引入Hamlet的汉译本研究之中。然后文章从译者作为读者和再创造者两个方面,分析译者的个人偏好、能力、翻译原则和所处的时代背景是如何体现在译者对原文本的选择、理解、以及对译本的表达过程中的。最后指出,由于时间、空间、历史、文化等诸多因素,译者不可能完全忠实于原作者,文学翻译中译者的创造性叛逆是不可避免的。创造性叛逆能够延长原文的生命,丰富目的语的语言和文化。通过本研究,作者以期帮助翻译工作者更好地了解创造性叛逆,从而更加客观地进行文学翻译批评。同时,为国内莎学研究尽微薄之力。

全文目录

摘要  5-6
Abstract  6-11
Introduction  11-14
  0.1 Motivation and Significance  11-13
  0.2 Approaches and Arrangements  13-14
Chapter 1 A Review of the Translator’s Status  14-25
  1.1 The Translator’s Humble Status in Traditional Translation Studies  14-20
    1.1.1 Traditional Attitude toward the Translator  15-17
    1.1.2 The Linguistic-Oriented Translation Studies and the Translator  17-20
  1.2 Recognition of the Translator’s Subjective Role  20-25
    1.2.1 The Cultural Turn in Translation Studies  20-21
    1.2.2 The Translator’s Subjective Role in Contemporary Translation Studies  21-25
Chapter 2 Creative Treason in Literary Translation  25-43
  2.1 Definition of Creative Treason  25-28
  2.2 Studies of Creative Treason at Home and Abroad  28-32
    2.2.1 Studies of Creative Treason Abroad  28-29
    2.2.2 Studies of Creative Treason in China  29-32
  2.3 Inquiry into the Translator’s Creative Treason from the Perspective of Hermeneutics  32-38
    2.3.1 A Brief Introduction to the Development of Hermeneutics  32-34
    2.3.2 Some Key Concepts in Philosophical Hermeneutics  34-36
    2.3.3 Implications of Philosophical Hermeneutics on the Translator’s Creative Treason  36-38
  2.4 Reasons for Creative Treason in Literary Translation  38-43
    2.4.1 Creative Treason Resulting from the Horizon of the Source  38-40
    2.4.2 Creative Treason Resulting from the Translator’s Prejudice  40-43
Chapter 3 Hamlet and its Chinese Translation  43-54
  3.1 The Chinese Translation of Hamlet  44-47
  3.2 Zhu Shenghao’s Life Experience and His Translation of Hamlet  47-50
    3.2.1 Zhu Shenghao’s Life Experience  47-49
    3.2.2 Zhu Shenghao’s Translation of Hamlet  49-50
  3.3 Bian Zhilin’s Life Experience and His Translation of Hamlet  50-54
    3.3.1 Bian Zhilin’s Translation Career  50-52
    3.3.2 Bian Zhilin’s Translation of Hamlet  52-54
Chapter 4 Demonstration of the Translator’s Creative Treason in the Two Chinese Versions of Hamlet  54-76
  4.1 The Translator’s Creative Treason Reflected as a reader  54-65
    4.1.1 Personal Preference, Dominant Ideology and the Selection of the Source Text  55-59
    4.1.2 Creative Treason Displayed in the Understanding of the Source Text  59-65
      4.1.2.1 Individual Competence and the Understanding of the Source Text  59-63
      4.1.2.2 Dominant Ideology and the Understanding of the Source Text  63-65
  4.2 The Translator’s Creative Treason Reflected as a re-creator  65-76
    4.2.1 Creative Treason out of Translation Principle  66-72
    4.2.2 Creative Treason out of Translation Purpose  72-76
Conclusion  76-78
Notes  78-84
Bibliography  84-87
Acknowledgements  87-88
Appendix 攻读学位期间主要研究成果目录  88

Hamlet汉译中译者的创造性叛逆

内容摘要

全文目录

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