本文選題：翻譯　切入點(diǎn)：藝術(shù)　出處：《西北民族大學(xué)》2009年碩士論文

【摘要】： 我國文學(xué)翻譯家傅雷說:“唯有不同種族的藝術(shù)家,在不損害一種特殊藝術(shù)的完整的條件之下,能灌輸一部分新的血液進(jìn)去,世界的文化才能愈來愈完滿,愈來愈燦爛”我想,藏族文學(xué)翻譯工作者對(duì)本族文化應(yīng)盡的責(zé)任,就是把一部分外族優(yōu)秀文化的血液,灌輸?shù)奖咀逦幕衼?使本族文化更加燦爛。但是,翻譯是一種跨語言、跨文化的交流活動(dòng),是一個(gè)充滿矛盾的領(lǐng)域。尤其是文學(xué)翻譯更是如此,它既是模仿,又是創(chuàng)造。它即使文化翻譯,更是藝術(shù)翻譯。在文學(xué)翻譯實(shí)踐中,譯者通常會(huì)犯兩個(gè)極端的錯(cuò)誤:一,完全開放,使祖先的血液退色;二,完全保守,呼吸不到新的空氣,使文明的江河斷流(文化要新陳代謝)。在翻譯實(shí)踐中要避免兩個(gè)極端,首先要從理論中認(rèn)清文學(xué)翻譯的藝術(shù)本質(zhì)。以往的藏族翻譯理論研究中這方面的研究較少,無先例可鑒,資料極缺,這對(duì)本課題研究的開展有很大的困難,但是,課題本身具有很大的挑戰(zhàn)性,加上為了能引起專家學(xué)者在這方面的注意,本人才敢于選取本課題。本文中較詳細(xì)地探討了翻譯為何稱藝術(shù)、何謂翻譯是藝術(shù)。 第一部分,簡述了藏漢文學(xué)翻譯史的三個(gè)高潮及藏漢文學(xué)翻譯藝術(shù)的“四項(xiàng)判斷”(文學(xué)翻譯的四種表現(xiàn)形式)即:A譯文和原文都有藝術(shù)特色;B原文無藝術(shù)特色而譯文中增添了新的藝術(shù)特色;C兩者都無藝術(shù)特色;D原文的藝術(shù)特色在譯文中失真。 第二部分,從總體上論述翻譯的藝術(shù)及其表現(xiàn)形式;即:翻譯藝術(shù)的含義、翻譯藝術(shù)的審美客體、翻譯藝術(shù)的審美主體、翻譯藝術(shù)的審美過程、翻譯藝術(shù)的審美標(biāo)準(zhǔn)。 第三部分,分別探討了翻譯藝術(shù)的三個(gè)基本內(nèi)容;即:翻譯藝術(shù)的性質(zhì)、翻譯藝術(shù)的策略、翻譯藝術(shù)的目的。
[Abstract]:Fu Lei, the translator of Chinese literature, said: "only when artists of different races can instill some new blood without compromising the integrity of a particular art, can the world's culture become more and more complete and brilliant."The duty of Tibetan literary translators towards their own culture is to instil the blood of some outstanding foreign cultures into their own cultures so as to make them more splendid.However, translation is a cross-lingual, cross-cultural communication activity, which is full of contradictions.This is especially true of literary translation, which is both imitation and creation.It is even cultural translation, but also art translation.In the practice of literary translation, translators usually make two extreme mistakes: first, completely opening up the blood of their ancestors; second, completely conservative, unable to breathe new air, and making the rivers and rivers of civilization stop flowing (culture should be metabolized).In order to avoid two extremes in translation practice, it is necessary to recognize the artistic essence of literary translation in theory.The previous research on Tibetan translation theory is less, there is no precedent to learn from it, and there is a great lack of data, which is very difficult for the research of this subject. However, the subject itself is very challenging.In addition, in order to attract the attention of experts and scholars, the talent dare to select this topic.This paper discusses in detail why translation is called art and what translation is art.Part one,This paper briefly describes the three climaxes of the history of Tibetan and Chinese literary translation and the "four judgments" of the translation of Tibetan and Chinese literature (four forms of expression of literary translation), that is, both the translation of "A" and the "original text" have artistic characteristics. There is no artistic feature in the original text but an increase in the translation of the original text.A new artistic feature is added. Neither of them has any artistic features and the original artistic features are distorted in the translation.The second part discusses the art of translation and its forms of expression in general, that is, the meaning of translation art, the aesthetic object of translation art, the aesthetic subject of translation art, the aesthetic process of translation art and the aesthetic standard of translation art.The third part discusses three basic contents of translation art: the nature of translation art, the strategy of translation art, and the purpose of translation art.
【學(xué)位授予單位】：西北民族大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2009
【分類號(hào)】：I046;H214

【參考文獻(xiàn)】

相關(guān)期刊論文 前1條

1 儒風(fēng);;《論語》的文化翻譯策略研究[J];中國翻譯;2008年05期

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本文編號(hào)：1703378