论文摘要
随着中外文化交流的发展,翻译的功能逐步扩大。而在翻译活动中,译者无疑是最活跃的因素。然而,中西方翻译研究史表明,在传统的文本中心以及作者中心译论的影响下,为了忠实传达原文思想和原作者的意图,译者不得不尽可能的限制自己主观能动性的发挥,努力做好“仆人”的角色。长期以来,译者在翻译活动中的重要地位遭到了忽视。随着翻译研究的发展,特别是20世纪70年代文化转向的出现,译者的地位得到了应有的重视,译者的主体性被普遍接受。本文在前人研究的基础上,通过追溯翻译史上专家学者们对译者由“仆人”,“隐身人”,“叛逆者”到翻译主体地位的有关论述,致力于强化突出译者在翻译活动中的创造性地位,并进一步探讨了限制译者主体性发挥的一些主客观因素,进而从接受美学的角度提出了读者是重要的制约因素之一。因此,译者在翻译过程中既要深入理解原文又要时刻关注读者的审美需求,运用多元化的翻译手段达到最佳的翻译效果。《红楼梦》是中国文学史上的经典著作,但是正因为它具有不朽的艺术价值和深厚的文化底蕴使得译者难以将这种文化差异进行准确地传达。其英译本使这部不朽作品的生命在英语文化里得到了延伸和继续。本文选取了《红楼梦》的两个英译本为例,对两种译本的翻译方法及风格等方面进行了比较,凸显了译者的主体性作用,并从文化的角度分析了主体性发挥的同时对读者的关照。
论文目录
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