發(fā)布時(shí)間：2018-04-05 04:14

  本文選題：《紅樓夢(mèng)》　切入點(diǎn)：文化負(fù)載詞　出處：《華北電力大學(xué)》2015年碩士論文

【摘要】：接受美學(xué)作為一種文學(xué)理論,主要研究讀者與文本之間的關(guān)系,認(rèn)為讀者在文本接受的過程中起到?jīng)Q定性的作用。換言之,讀者中心地位是接受美學(xué)的核心,在整個(gè)文學(xué)活動(dòng)中,讀者地位是不可忽視的。翻譯作品的讀者有著和原作同樣的地位,那么根據(jù)接受美學(xué)理論,譯者在處理文學(xué)翻譯時(shí),應(yīng)當(dāng)充分考慮到譯文讀者,以及如何實(shí)現(xiàn)譯本與讀者視域的融合。本文運(yùn)用接受美學(xué)的期待視野,文本的不確定性,隱含讀者和讀者的主觀能動(dòng)性等概念,來對(duì)比分析《紅樓夢(mèng)》英譯本中的文化負(fù)載詞的翻譯方法。依據(jù)奈達(dá)對(duì)文化的劃分,文中相應(yīng)地把《紅樓夢(mèng)》中的文化負(fù)載詞劃分為五大類,即生態(tài)文化負(fù)載詞、物質(zhì)文化負(fù)載詞、宗教文化負(fù)載詞、社會(huì)文化負(fù)載詞及語言文化負(fù)載詞,并選取楊憲益及霍克斯的英譯本作為研究對(duì)象。從接受美學(xué)的角度,對(duì)這兩譯本中文化負(fù)載詞的翻譯方法進(jìn)行了統(tǒng)計(jì)分析。研究發(fā)現(xiàn),在接受美學(xué)的角度下,譯者在翻譯文化負(fù)載詞時(shí),采取以下翻譯方法能較好地讓譯文與目的語讀者盡可能地達(dá)到視野的融合：對(duì)于零視野和部分視野融合的生態(tài)和物質(zhì)文化負(fù)載詞時(shí),應(yīng)采取意譯與直譯相結(jié)合的方法；對(duì)于視野完全融合的生態(tài)和物質(zhì)文化負(fù)載時(shí),替代法為最優(yōu)翻譯法；對(duì)于部分視野融合的社會(huì)文化負(fù)載詞,可采取直譯與意譯；零視野融合的社會(huì)文化負(fù)載詞則采取直譯；對(duì)于零視野與部分視野融合的宗教文化負(fù)載詞,則采取直譯及直譯加注法；對(duì)于零視野和部分視野融合的語言文化負(fù)載詞,則應(yīng)采取意譯。
[Abstract]:Reception aesthetics, as a literary theory, mainly studies the relationship between readers and texts, and holds that readers play a decisive role in the process of text acceptance.In other words, the reader-centered position is the core of receptive aesthetics.The readers of the translated works have the same status as the original works, so according to the theory of reception aesthetics, the translator should take full account of the target readers when dealing with literary translation, and how to realize the fusion of the translation and the reader's horizon.Based on the concepts of receptive aesthetics such as expectation perspective, text uncertainty, implicit readers and readers' subjective initiative, this paper compares and analyzes the translation methods of culture-loaded words in the English version of A Dream of Red Mansions.According to Nida's classification of culture, the culture-loaded words in A Dream of Red Mansions are divided into five categories: ecological culture-loaded words, material-culture-loaded words, religious culture-loaded words, sociocultural loaded words and language-culture-loaded words.The English translation of Yang Xianyi and Hawkes is chosen as the research object.From the perspective of reception aesthetics, this paper makes a statistical analysis of the translation methods of culture-loaded words in the two versions.It is found that in the perspective of reception aesthetics, translators translate culture-loaded words.The following translation methods can make the target text and target language readers as far as possible to achieve the fusion of vision: for the combination of zero visual field and partial visual field of ecological and material cultural loaded words, the combination of free translation and literal translation should be adopted;For the ecological and material culture load, the substitution method is the optimal translation method, the literal translation and free translation can be used for the sociocultural loaded words with partial vision fusion, the literal translation for the social and cultural loaded words with zero visual field fusion, and the free translation for the socially and culturally loaded words with partial visual field fusion.For the religious culture-loaded words with zero visual field and partial visual field, literal translation and literal annotation are adopted, and free translation should be adopted for language culture-loaded words with zero visual field and partial visual field.
【學(xué)位授予單位】：華北電力大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2015
【分類號(hào)】：H315.9;I046

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本文編號(hào)：1713149