接受与创造：《老人与海》两个中译本研究

论文摘要

文学翻译不同于其它类型的翻译,它既要求译者能重新叙述故事,同时也要求译者能重现原著作者的风格、基调和情感。历史上中西方学者提出了各种翻译理论或原则,如严复的信、达、雅;林语堂的忠实,通顺,美;尤金.奈达的动态对等:彼得.纽马克的语义与交际翻译。等等。然而,他们对译者或译者对翻译过程的影响往往并未作为研究重点,而是倾向于关注原著或读者。事实上,译者首先扮演的是读者的角色,通过阅读接受及消化原著,然后才是译者。译者进行翻译时,因为有着自己对原著的理解与诠释而在翻译的过程中也扮演着创作者的角色。因此,翻译中两个不可或缺的步骤便是接受与创造。另一方面,接受美学是一种很强调读者能动作用的文学批评理论,而读者的能动作用在以前又往往被忽略掉。因此接受美学与翻译研究的结合是有利于扩展研究译著的深度。本论文尝试利用接受美学作为研究的整体理论框架,从期待视野、空白、未定点等具体概念出发,结合两个译者的翻译技巧与翻译观,对比研究了《老人与海》的两个中译本。在此研究之上,我们可以重新审视翻译过程,发现译者在作为读者积极地参与到接受原著的过程中是否存在着积极或消极的一面。同时,在此对比研究中发现不同译作各有所长,这将促进更多的译作以新的“形象”出现,也是文学翻译研究的魅力所在。本研究旨在为文学翻译研究提供可以参照的视角。

论文目录

• Abstract
• 摘要
• Contents
• Chapter 1 Introduction
• 1.1 Rationale and Research Background
• 1.2 Research Questions
• 1.3 Research Methodology
• 1.4 Significance of the Study
• Chapter 2 Literature Review
• 2.1 Previous Studies of The Old Man and the Sea
• 2.2 Aesthetics of Reception and Translation Studies
• 2.3 Earnest Hemingway and The Old Man and the Sea
• 2.3.1 Earnest Hemingway and His Works
• 2.3.2 The Old Man and the Sea
• 2.3.3 Artistic Features of The Old Man and the Sea
• 2.3.3.1 Writing style of The Old Man and the Sea
• 2.3.3.2 Symbolism in The Old Man and the Sea
• 2.3.3.3 Iceberg Theory in The Old Man and the Sea
• 2.3.4 Key Images in The Old Man and the Sea
• 2.3.4.1 Santiago
• 2.3.4.2 Manolin
• 2.3.5 The Translations of The Old Man and the Sea in China
• Chapter 3 Theoretical Framework—Aesthetics of Reception
• 3.1 Hans Robert Jauss
• 3.2 Wolfgang Iser
• 3.3 Main Concepts
• 3.3.1 Horizon of Expectations
• 3.3.2 Indeterminacy of the Text Meaning
• 3.3.3 Reader' s Response Theory
• 3.4 The Applicability of the Theory of Aesthetics of Reception to Literary Translation
• Chapter 4 Case Study
• 4.1 About Hal Guan's Interpretation of The Old Man and the Sea
• 4.2 About Huang Yuanshen as a Translator
• 4.3 A Comparative Study of the Two Chinese Versions of The Old Man and the Sea
• 4.3.1 The Translation of Dialogues in the Two Versions
• 4.3.2 The Translation of Descriptions in the Two Versions
• 4.3.3 The Translation of Symbols in the Two Chinese Versions
• 4.3.4 The Translation of the Tone in the Two Chinese Versions
• 4.3.5 The Translation of Emotions in the Two Chinese Versions
• 4.3.6 Stiff or Dead Translation in the Two Chinese versions
• Chapter 5 Conclusion
• 5.1 General Summary of the Thesis
• 5.2 Limitations of the Current Study
• 5.3 Possible Future Efforts
• Bibliography
• Acknowledgements
• 在学期间的研究成果及发表的学术论文