论文摘要
随着翻译理论研究的发展,人们开始注重译者在翻译过程中的地位并从各个角度进行分析研究。在哲学的关照下,学者们开始将阐释学运用于翻译研究(杨武能,1998;谢天振,2000;吕俊,2000;张德让,2001;袁莉,2002;屠国元,2003)。不论是否同意译者是不是翻译主体,但是,学者们一致认为译者处在阐释循环的中心位置。笔者拟从现代阐释学的角度,对译者主体性问题进行较为深入的探讨。文章拟从偏见观、视域融合两个阐释学的核心概念出发,分析译者在翻译中体现的能动性,进而结合翻译阐释学者斯坦纳的翻译阐释四步骤对译者在此过程中主体性的发挥问题进行较为深入的探讨,并且以此理论分析研究林语堂的翻译作品《浮生六记》。论文分为三章,第一章阐述译者从幕后走向台前的过程。第二章界定译者主体性的内涵及从阐释学的观点对译者主体性的存在和发挥,进行理论上的研究。根据伽达默尔的观点阐释学的前理解与偏见是历史性的存在,译者只有不断的调整视域并努力与原作者的视域叠合,但是视域融合并非易事,译者视域与作者视域经常相互碰撞、排斥,结果免不了用译语文化归化、过滤原语文本。斯坦纳吸收了现代阐释学的观点,并在其《阐释的运作》中提出了阐释的步骤。第三章从阐释学的角度,按照斯坦纳的阐释四步骤即:信任、侵入、吸收和补偿来一一考量译者在翻译《浮生六记》中,主体性具体的发挥的问题,以期将此个案研究推向了一个较深入的层面。
论文目录
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