發(fā)布時(shí)間：2019-02-25 09:52

【摘要】： 翻譯中的文化缺省現(xiàn)象是指作品中作者與其目標(biāo)讀者所共享的文化背景知識(shí)的缺省。在創(chuàng)作時(shí),作者有意留下一些文化和語(yǔ)義空白,一方面可以縮短篇幅,達(dá)到簡(jiǎn)潔的目的,另一方面,也給讀者提供一個(gè)想象的空間,讓讀者在探索文學(xué)意境的同時(shí),可以積極地參與到作品中去。目標(biāo)讀者通過(guò)激發(fā)腦海中已存儲(chǔ)的文化背景知識(shí)來(lái)填充原作品中文化缺省留下的空位,獲得連貫的理解,進(jìn)而欣賞到作品的美學(xué)價(jià)值。但當(dāng)我們將一部作品介紹到國(guó)外時(shí),目標(biāo)讀者已不在原作者的意向讀者之列,兩國(guó)文化背景之間的差異導(dǎo)致目標(biāo)讀者在閱讀中沒(méi)有相應(yīng)的背景知識(shí)來(lái)填充原有的文化及語(yǔ)義空位,很難獲得連貫的理解,對(duì)揣摩作者的寫(xiě)作意圖也造成影響。因此對(duì)于譯者而言,如何準(zhǔn)確而又恰當(dāng)?shù)靥钛a(bǔ)這些文化和語(yǔ)義上的空白,將是一項(xiàng)艱巨的任務(wù)。 本文通過(guò)分析語(yǔ)料《駱駝祥子》的法文譯本,對(duì)文化缺省現(xiàn)象進(jìn)行了系統(tǒng)的研究。研究方法如下:首先,作者從跨文化角度出發(fā),分析《駱駝祥子》在二十世紀(jì)六七十年代的法國(guó)取得巨大成功的原因。作者通過(guò)對(duì)比當(dāng)時(shí)中法兩國(guó)各自的歷史背景,總結(jié)出在不同的歷史階段,讀者都會(huì)有不同的“心理期待”,只有迎合了讀者特定時(shí)期的特定心理期待的作品,才有可能喚起人們心中的共鳴,也才有可能被廣大異國(guó)讀者所接受。接下來(lái),作者從翻譯角度出發(fā),研究翻譯質(zhì)量對(duì)于作品在目標(biāo)語(yǔ)國(guó)家傳播的影響。作者將重點(diǎn)轉(zhuǎn)移到譯本上來(lái),對(duì)譯本中文化缺省的形成、分類(lèi)及各項(xiàng)功能進(jìn)行剖析,分析并列出由于文化缺省而引發(fā)的翻譯問(wèn)題,指出文化缺省的翻譯問(wèn)題主要來(lái)自于兩個(gè)方面:一是譯者水平有限,沒(méi)有及時(shí)發(fā)現(xiàn)并填補(bǔ)這些由于文化背景不同造成的語(yǔ)義空白,從而給異國(guó)讀者閱讀本國(guó)作品帶來(lái)不便;二是由于由于譯者對(duì)于目標(biāo)讀者的文化接受能力和水平估計(jì)不當(dāng)從而導(dǎo)致過(guò)度或者欠額翻譯。作者認(rèn)為,要想解決這些翻譯問(wèn)題,譯者必須具備端正的翻譯態(tài)度和優(yōu)秀的跨文化語(yǔ)言交際能力。最后,作者分析《駱駝祥子》法文譯本中出現(xiàn)的文化及語(yǔ)義缺省實(shí)例,探討了文化缺省翻譯的補(bǔ)償方法,將文化缺省的補(bǔ)償方法歸納為以下三個(gè)層次,即:文化移植,文化注解,文化省略,并且指出文化移植是文化補(bǔ)償?shù)淖罱K趨勢(shì),文化缺省的翻譯應(yīng)該走從文化省略到文化注解,然后達(dá)到文化移植這樣一條道路。譯者應(yīng)該具備這樣的動(dòng)態(tài)眼光,以便更好地發(fā)揮翻譯的文化功能,促進(jìn)兩國(guó)間的跨文化交流。
[Abstract]:Cultural default in translation refers to the default of cultural background knowledge shared by the author and the target reader. In writing, the author intentionally leaves some cultural and semantic gaps. On the one hand, he can shorten the length and achieve the purpose of simplicity. On the other hand, he can also provide the reader with an imaginary space to explore the literary artistic conception at the same time. Can be actively involved in the work. By arousing the cultural background knowledge stored in the mind, the target reader fills in the space left by the cultural default in the original work, obtains a coherent understanding, and then appreciates the aesthetic value of the work. But when we introduce a work to a foreign country, the target reader is no longer among the intended readers of the original author. The differences between the cultural backgrounds of the two countries result in the target readers not having the corresponding background knowledge to fill the original cultural and semantic gaps in their reading, and it is difficult to obtain a coherent understanding, which also has an impact on the interpretation of the author's writing intention. Therefore, how to fill these cultural and semantic gaps accurately and appropriately will be a difficult task for translators. Based on the analysis of the French translation of Locke Hump Xiangzi, this paper makes a systematic study of the cultural default phenomenon. The research methods are as follows: firstly, the author analyzes the reasons for the great success of camel in France in the 1960s and 1970s from the perspective of cross-culture. By comparing the historical backgrounds of China and France at that time, the author concludes that at different historical stages, readers will have different "psychological expectations", only works that cater to the specific psychological expectations of the readers in a specific period. It is possible to arouse the resonance of people's hearts, and to be accepted by the vast number of foreign readers. Then, from the perspective of translation, the author studies the impact of translation quality on the dissemination of works in the target country. The author shifts the emphasis to the translation, analyzes the formation, classification and various functions of cultural default in the translation, analyzes and lists the translation problems caused by the cultural default. It is pointed out that the translation problems of cultural default mainly come from two aspects: first, the translator's level is limited and the semantic blanks caused by different cultural backgrounds are not found and filled in time, which makes it inconvenient for foreign readers to read their own works; Second, due to the improper estimation of the target readers' cultural receptivity and level, the translator leads to excessive or inadequate translation. The author believes that to solve these translation problems, the translator must have a correct translation attitude and excellent intercultural communicative competence. Finally, the author analyzes the examples of cultural and semantic default in the French translation of Locke Hump Xiangzi, probes into the compensation method of cultural default translation, and concludes the compensation method of cultural default into the following three levels: culture transplantation. It is pointed out that cultural transplantation is the ultimate trend of cultural compensation. The translation of cultural default should go from culture-ellipsis to culture-annotation, and then to cultural transplantation. Translators should have such a dynamic vision in order to better play the cultural function of translation and promote cross-cultural exchanges between the two countries.
【學(xué)位授予單位】：北京語(yǔ)言大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2009
【分類(lèi)號(hào)】：I046;H32

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