论文摘要
作为艺术活动的翻译与美学有着不解之缘。因此,无论是研究翻译理论还是实践都要从美学中吸取营养。翻译美学的产生及发展让我们对作为审美主体的译者在整个翻译审美过程中的活动有了更加深刻的了解。在翻译过程中,译者作为有思想有意识的审美主体,首先品读原文,欣赏体会其中之美;继而凭借自身对语言的驾驭能力,通过自身审美心理情感的折射在译文中展现、重塑审美客体即原作之美。因而在翻译中,译者不仅创造性地再现原文,也会在一定程度上表现自身对原作的审美评价,译者对原作的叛逆也就成为一种必然,也即从翻译审美的角度看,创造性叛逆必然存在。本文侧重于从翻译美学的角度出发,试图对译者”创造性叛逆”进行分析。并得出结论:译者要在原文的基础上,充分发挥自己的审美能力和创造性叛逆让原文的美学要素在翻译中得到最大程度的传达。文中列举并分析了中外译者大量英汉互译的实例来论证这一观点。本论文共有五章。第一章介绍了本研究的背景、目的和意义以及研究方法;第二章回顾了中西方翻译理论的美学渊源,并论述了翻译美学在中西方的发展;第三章是本论文的理论基础,将分别阐释翻译美学理论和”创造性叛逆”理论;第四章从翻译美学的角度对大量翻译实例进行分析,阐明了译者运用创造性叛逆在译文中实现了对原文的审美再现;第五章从翻译美学的层面分析译者如何有效地运用创造性叛逆创造性地再现原文的美学价值;第六章对全文作出总结,指明译者的审美意识激发了创造性叛逆,而创造性叛逆又促成了翻译中的审美再现。
论文目录
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