本文關(guān)鍵詞： 約翰·福爾斯 《尾數(shù)》 后現(xiàn)代主義 創(chuàng)造性　出處：《揚(yáng)州大學(xué)》2017年碩士論文　論文類型：學(xué)位論文

【摘要】：約翰·福爾斯是二戰(zhàn)最重要的小說家之一,也是英國(guó)后現(xiàn)代主義的代言人。其創(chuàng)作場(chǎng)景深受哈代、勞倫斯的影響,孕育出了神秘的存在主義,表達(dá)出了對(duì)藝術(shù)自由的追求;其創(chuàng)作主題深受薩特、加繆的影響,小說中的人物在虛幻和真實(shí)的社會(huì)背景之間來回穿梭;其創(chuàng)作形式深受中世紀(jì)羅曼司體裁的影響,模糊了歷史與文學(xué)的界限,將兩者并置于相同的虛構(gòu)地位。因此,其作品對(duì)于譯者及目標(biāo)語(yǔ)讀者而言,在理解上存在著較大難度�！段矓�(shù)》是約翰·福爾斯篇幅最短、卻最晦澀難懂、最受爭(zhēng)議的一部小說。在作品中,女主人公分別以多變的形象:女醫(yī)生戴爾菲、女朋克手、詩(shī)歌女神艾洛朵甚至是日本藝伎的身份呈現(xiàn)于讀者面前。在女主人公幫助邁爾斯恢復(fù)記憶力和性功能的過程中,福爾斯利用了不連貫的敘事情節(jié)、分裂的敘事模式來討論文學(xué)創(chuàng)作、理解力和感官等一系列問題,這給讀者和譯者都造成了很大的閱讀障礙。另一方面,《尾數(shù)》中福爾斯借助了后現(xiàn)代主義技巧,如不確定性、開放性、互文性,大膽創(chuàng)造出了一個(gè)虛擬的時(shí)空。雖然給讀者留下了寬廣的想象空間,卻也進(jìn)一步加大了理解難度。鑒于后現(xiàn)代主義小說的特征,譯者認(rèn)為“創(chuàng)造性”翻譯原則更適合指導(dǎo)《尾數(shù)》的翻譯實(shí)踐,因?yàn)樗�不僅可以更準(zhǔn)確地傳達(dá)出原文信息,而且在翻譯的過程中,最大限度地保留了后現(xiàn)代主義小說的特點(diǎn)。其次,譯者在翻譯過程中遇到的新問題—粗鄙語(yǔ)、杜撰詞、猜謎式表達(dá)、習(xí)語(yǔ)、互文性和荒誕性風(fēng)格等也無法用傳統(tǒng)的翻譯原則和技巧來有效地解決,而“創(chuàng)造性翻譯”原則卻能夠較好的化解。本報(bào)告包括四章,第一章介紹翻譯任務(wù),主要包括對(duì)作者福爾斯及其作品《尾數(shù)》的分析,以及對(duì)《尾數(shù)》中后現(xiàn)代主義小說的特點(diǎn)和“創(chuàng)造性翻譯”原則的介紹。第二章介紹翻譯過程,包括譯前準(zhǔn)備,翻譯過程中遇到的困難以及譯稿的校改工作。第三章通過典型例句,討論如何用“創(chuàng)造性翻譯”原則來指導(dǎo)譯者在翻譯后現(xiàn)代主義小說《尾數(shù)》中所遇到的種種難題。第四章總結(jié)從該翻譯項(xiàng)目得到的收獲以及仍然存在的局限性,為未來的翻譯實(shí)踐活動(dòng)留下啟示。
[Abstract]:John Fowles was one of the most important novelists in World War II and a spokesman for post-modernism in England, whose creation was deeply influenced by Hardy and Lawrence and gave birth to mysterious existentialism. Express the pursuit of artistic freedom; The theme of his creation is deeply influenced by Sartre and Camus, and the characters in the novel shuttle back and forth between the illusory and the real social background. His writing form was deeply influenced by Roman genre in the Middle Ages, which blurred the boundary between history and literature, and placed both of them in the same fictional position. Therefore, his works are for translators and target language readers. "Mantissa" is the shortest, most obscure, and most controversial novel in John Fowles. In the novel, the heroine is represented by a variety of images: the female doctor Del Fay. The identity of punk hands, poetry goddess Alodo and even a Japanese geisha is presented to the reader. In the heroine's efforts to help Miles restore memory and sexual function, Fowles takes advantage of incoherent narratives. The split narrative mode is used to discuss a series of problems such as literary creation, comprehension and sensuality, which has caused great reading obstacles to both readers and translators. In Mantissa, Fowles makes use of post-modernism techniques, such as uncertainty, openness, intertextuality, and boldly creates a virtual space and time, although it leaves the reader with a wide space for imagination. In view of the characteristics of postmodernist novels, the translator thinks that the "creative" translation principle is more suitable to guide the translation practice of "Mantissa". This is because it not only conveys the original information more accurately, but also preserves the features of postmodernist novels to the maximum extent in the process of translation. Secondly, the translator encounters a new problem in the process of translation-vulgarity. Concoctions, guessing expressions, idioms, intertextuality and absurdity cannot be effectively solved by traditional translation principles and techniques. However, the principle of "creative translation" can be resolved better. This report includes four chapters. The first chapter introduces translation tasks, including the analysis of author Fowles and his works Mantissa. The second chapter introduces the process of translation, including pre-translation preparation, as well as the characteristics of postmodernist novels and the principle of "creative translation" in Mantissa. The difficulties encountered in the process of translation and the revision of the translation. Chapter three uses typical examples. This paper discusses how to use the "creative translation" principle to guide the translator in the translation of postmodernist novel Mantissa. Chapter 4th summarizes the gains from the translation project and the remaining limitations. It will give some enlightenment to the translation practice in the future.
【學(xué)位授予單位】：揚(yáng)州大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：H315.9

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