接受美學(xué)與異化在文學(xué)翻譯中的應(yīng)用
發(fā)布時(shí)間：2019-04-19 13:36
【摘要】： 作為翻譯的兩種基本策略,歸化與異化一直是學(xué)者討論的主題。究竟以歸化為主還是異化為主也一直是人們爭(zhēng)論的焦點(diǎn)�？偟膩碚f,在中國(guó)近代翻譯史上,歸化的聲調(diào)明顯高于異化的呼聲,在一百年的時(shí)間里,除了“五四”后十五六年的時(shí)間以魯迅的異化翻譯為主外,其余時(shí)間幾乎都以歸化為主。然而,時(shí)代在改變,在西方譯論的影響下,尤其是接受美學(xué)傳入中國(guó),促使學(xué)者開始重新思考?xì)w化和異化的問題,不少譯者開始支持異化翻譯。 爭(zhēng)論雙方都有自己的理論基礎(chǔ)。奈達(dá)是歸化的代表,他提出了“最切近的自然對(duì)等”的概念。韋努蒂是異化的代表,他提出了“反翻譯”的概念。而在中國(guó)譯論中,歸化的代表為傅雷的“神似”和錢鐘書的“化境”,而異化的代表則是魯迅的“寧信而不順”。 在以前的許多翻譯理論中,作者中心論和文本中心論占絕對(duì)統(tǒng)治地位,因此出現(xiàn)了一些“對(duì)等”“神似”等不切實(shí)際的理論,忽略了讀者對(duì)譯文的接受,也忽略譯者在翻譯過程中的能動(dòng)參與作用。20世紀(jì)60年代,以現(xiàn)象學(xué)和闡釋學(xué)為理論基礎(chǔ)的接受美學(xué)的誕生,使人們找到了一個(gè)新的研究方法,是方法論上的一個(gè)重大變革。 一般翻譯理論認(rèn)為譯者翻譯的即是源文本,而從接受美學(xué)的觀點(diǎn)看,作品只是作家創(chuàng)作的文藝制品,即第一文本,而被讀者印入腦中,經(jīng)過領(lǐng)悟、解釋、融化之后再生的文本才是真正的審美對(duì)象,即第二文本。譯者翻譯的不是源文本,而是經(jīng)過他自己理解過后的一個(gè)文本,這個(gè)文本只是源文本的多個(gè)近似值之一。因?yàn)榻邮苊缹W(xué)認(rèn)為,文本具有的空白、不確定性和否定結(jié)構(gòu)使每個(gè)讀者理解過后的版本都不盡相同。因此,等值的觀念在翻譯中是不可行的。 期待視野理論指出讀者在閱讀文學(xué)作品之前和進(jìn)入閱讀狀態(tài)時(shí),其意識(shí)并不是空白的,而是具有了某種世界觀、社會(huì)經(jīng)驗(yàn)、審美要求等,這就是讀者的期待視野,其中又分為定向期待和創(chuàng)新期待。接受美學(xué)認(rèn)為,只有能讓激發(fā)讀者的想像,滿足讀者的創(chuàng)新期待的作品,才是好的作品。同樣,只有譯文和讀者期待視野之間的距離適中,才能使譯文的授受效果達(dá)到最佳。因此,采用適當(dāng)?shù)漠惢侵档锰岢?歸化和過度異化則因?yàn)槠鋵徝谰嚯x太短或太長(zhǎng),因此審美效果并不是最好。 讀者的定向期待和創(chuàng)新期待并不是一成不變的,創(chuàng)新期待經(jīng)過讀者的接受后,便被納入讀者的已有認(rèn)知結(jié)構(gòu),從而變成定向期待的部分。因此,異化翻譯是應(yīng)該采取的,而且是一個(gè)積累和吸收的過程,它可以豐富源語文化和語言形式。正是通過接受美學(xué)中的第一文本、第二文本的區(qū)分、期待視野、審美期待和視野轉(zhuǎn)換的觀點(diǎn),本文重新討論了歸化和異化的問題,并且通過分析后,認(rèn)為在當(dāng)前的時(shí)代背景下,異化應(yīng)該成為翻譯的主流趨勢(shì)。
[Abstract]:As two basic strategies of translation, domestication and foreignization have always been the subject of discussion by scholars. Whether domestication or alienation is the main focus of debate has always been the focus of debate. In general, in the history of modern Chinese translation, the tone of domestication is obviously higher than the voice of foreignization. In the 100 years, except for the 15 and 16 years after the May 4th Movement, Lu Xun's foreignization translation was the main focus. The rest of the time was almost dominated by naturalization. However, under the influence of western translation theories, especially the introduction of reception aesthetics into China, scholars begin to rethink the problem of domestication and foreignization, and many translators begin to support foreignization translation. Both sides of the argument have their own theoretical basis. Nida is the representative of naturalization. He put forward the concept of "closest natural equivalence". Wenuti is the representative of foreignization. He put forward the concept of "anti-translation". In the Chinese translation theory, the naturalized representative is Fu Lei's "divine resemblance" and Qian Zhongshu's "turning state", while the alienated representative is Lu Xun's "believing rather than obeying". In many previous translation theories, the author-centered theory and the text-centered theory occupied an absolute dominant position, so some unrealistic theories such as "equivalence" and "God-like" appeared, ignoring the readers' acceptance of the translation. In the 1960s, the emergence of reception aesthetics based on phenomenology and hermeneutics made people find a new research method, which is a major change in methodology. According to the general translation theory, the translator's translation is the source text. From the perspective of reception aesthetics, the works are only the literary and artistic products created by the writer, that is, the first text, which is printed in the mind of the reader and interpreted through comprehension and explanation. The reborn text after melting is the real aesthetic object, that is, the second text. The translator does not translate the source text but a text which has been understood by himself. This text is just one of the multiple approximations of the source text. According to reception aesthetics, the blank, uncertain and negative structure of the text makes each reader understand different versions. Therefore, the concept of equivalence is not feasible in translation. The theory of expectation field of vision points out that readers' consciousness is not blank before and after reading literary works, but has some world outlook, social experience, aesthetic requirements, etc. This is the reader's expectation vision. Among them, it is divided into orientation expectation and innovation expectation. Reception aesthetics holds that only works that inspire readers' imagination and satisfy their creative expectations are good works. Similarly, it is only when the distance between the target text and the reader's expectation is moderate that the reception effect of the translation can be optimized. Therefore, the adoption of appropriate alienation is worth advocating, domestication and excessive alienation because its aesthetic distance is too short or too long, so the aesthetic effect is not the best. The orientation expectation and the innovation expectation of the reader are not fixed. After the reader's acceptance, the innovation expectation is incorporated into the existing cognitive structure of the reader, and thus becomes the part of the orientation expectation. Therefore, foreignization translation should be adopted, and it is a process of accumulation and absorption, which can enrich the source language culture and language form. It is through the distinction between the first text and the second text, the perspective of expectation, the aesthetic expectation and the transformation of vision, this paper re-discusses the problem of domestication and alienation, and through the analysis, thinks that under the current background of the times, Foreignization should become the mainstream trend of translation.
【學(xué)位授予單位】：上海外國(guó)語大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2007
【分類號(hào)】：I046
本文編號(hào)：2460990
[Abstract]:As two basic strategies of translation, domestication and foreignization have always been the subject of discussion by scholars. Whether domestication or alienation is the main focus of debate has always been the focus of debate. In general, in the history of modern Chinese translation, the tone of domestication is obviously higher than the voice of foreignization. In the 100 years, except for the 15 and 16 years after the May 4th Movement, Lu Xun's foreignization translation was the main focus. The rest of the time was almost dominated by naturalization. However, under the influence of western translation theories, especially the introduction of reception aesthetics into China, scholars begin to rethink the problem of domestication and foreignization, and many translators begin to support foreignization translation. Both sides of the argument have their own theoretical basis. Nida is the representative of naturalization. He put forward the concept of "closest natural equivalence". Wenuti is the representative of foreignization. He put forward the concept of "anti-translation". In the Chinese translation theory, the naturalized representative is Fu Lei's "divine resemblance" and Qian Zhongshu's "turning state", while the alienated representative is Lu Xun's "believing rather than obeying". In many previous translation theories, the author-centered theory and the text-centered theory occupied an absolute dominant position, so some unrealistic theories such as "equivalence" and "God-like" appeared, ignoring the readers' acceptance of the translation. In the 1960s, the emergence of reception aesthetics based on phenomenology and hermeneutics made people find a new research method, which is a major change in methodology. According to the general translation theory, the translator's translation is the source text. From the perspective of reception aesthetics, the works are only the literary and artistic products created by the writer, that is, the first text, which is printed in the mind of the reader and interpreted through comprehension and explanation. The reborn text after melting is the real aesthetic object, that is, the second text. The translator does not translate the source text but a text which has been understood by himself. This text is just one of the multiple approximations of the source text. According to reception aesthetics, the blank, uncertain and negative structure of the text makes each reader understand different versions. Therefore, the concept of equivalence is not feasible in translation. The theory of expectation field of vision points out that readers' consciousness is not blank before and after reading literary works, but has some world outlook, social experience, aesthetic requirements, etc. This is the reader's expectation vision. Among them, it is divided into orientation expectation and innovation expectation. Reception aesthetics holds that only works that inspire readers' imagination and satisfy their creative expectations are good works. Similarly, it is only when the distance between the target text and the reader's expectation is moderate that the reception effect of the translation can be optimized. Therefore, the adoption of appropriate alienation is worth advocating, domestication and excessive alienation because its aesthetic distance is too short or too long, so the aesthetic effect is not the best. The orientation expectation and the innovation expectation of the reader are not fixed. After the reader's acceptance, the innovation expectation is incorporated into the existing cognitive structure of the reader, and thus becomes the part of the orientation expectation. Therefore, foreignization translation should be adopted, and it is a process of accumulation and absorption, which can enrich the source language culture and language form. It is through the distinction between the first text and the second text, the perspective of expectation, the aesthetic expectation and the transformation of vision, this paper re-discusses the problem of domestication and alienation, and through the analysis, thinks that under the current background of the times, Foreignization should become the mainstream trend of translation.
【學(xué)位授予單位】：上海外國(guó)語大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2007
【分類號(hào)】：I046
【引證文獻(xiàn)】
相關(guān)期刊論文 前1條
1 黃雪芳;;文化翻譯視角下對(duì)老舍短篇小說中英版本的解讀[J];短篇小說(原創(chuàng)版);2013年07期
相關(guān)碩士學(xué)位論文 前1條
1 郭黎陽;期待視野理論視角下《茶館》兩個(gè)英譯本的實(shí)證研究[D];大連外國(guó)語學(xué)院;2011年
，本文編號(hào)：2460990
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