接受美学视域下的译者主体性研究 ——以莎士比亚十四行诗三个汉译本为例

论文摘要

译者无疑是翻译活动中最活跃的主体因素。随着翻译研究的文化转向,译者作为翻译主体的身份得以突显,译者主体性随之成为翻译研究的新焦点。接受美学理论强调文本的未定性和读者的能动作用,为翻译研究提供了新的视角与方法。接受美学视域下,译者主体性极为重要并值得关注,因为译者在翻译过程中既是接受主体又是一定意义上的创造主体。一方面,作为接受主体,译者应与原语文本进行交流,努力促使自身视域和原语文本视域的融合,并对原语文本的未定点进行合理填充。另一方面,作为一定意义上的创作主体,译者需主动考虑译语读者的接受水平和审美期待,努力促使译语读者与译语文本的视域融合,以完美再现原语文本。莎士比亚十四行诗是世界诗歌史上的丰碑,其翻译是一个永恒的话题。文学翻译难,译诗更难,莎翁十四行诗的翻译更具挑战性。本论文选取中国现代著名诗人兼翻译家梁宗岱、屠岸和辜正坤汉译的十四行诗为语料,从接受美学的视域,考察莎诗汉译中译者主体性在形式、内容、主题及风格方面的不同表现,以期对莎诗的认识有所启示和提升。本文认为,由于译者主体性的发挥,莎诗汉译表现出明显的“异人异译”特征。本文还试图对三个译本的不同特点及翻译策略作理论概括及归纳总结。本研究从接受美学视角探讨译者主体性,仅是初步尝试,希望能有助于拓展译者研究空间,从而对译学研究有所裨益。

论文目录

• ABSTRACT
• 摘要
• Chapter 1 Introduction
• 1.1 Research Background
• 1.2 Research Methodology
• 1.3 Organization of the Thesis
• Chapter 2 A General Survey of Translator's Subjectivity
• 2.1 The Connotation of Translator's Subjectivity
• 2.1.1 Subject and Subjectivity in Philosophy
• 2.1.2 The Subject of Translation
• 2.1.3 The Subjectivity of the Translator
• 2.2 Translator's Subjectivity in Three Paradigms
• 2.2.1 The Author-oriented Paradigm
• 2.2.2 The Text-oriented Paradigm
• 2.2.3 The Translator-oriented Paradigm
• Chapter 3 A Theoretical Exploration of Translator's Subjectivity from the Perspective of Reception Aesthetics
• 3.1 Reception Aesthetics
• 3.1.1 Historical Development of Reception Aesthetics
• 3.1.2 Main Tenets of Reception Aesthetics
• 3.2 Implication of Reception Aesthetics on Translation
• 3.2.1 Horizon of Expectations and Translation
• 3.2.2 Appeal Structure and Translation
• 3.3 Translator's Subjectivity in Translation Process from Reception Aesthetics
• 3.3.1 Translator's Subjectivity Displayed in Understanding
• 3.3.2 Translator's Subjectivity Displayed in Reproduction
• 3.3.3 Restrictions on Translator's Subjectivity in Translation Process
• 3.4 Summary
• Chapter 4 From Theory to Practice:A Case Study of Three Chinese Versions of Shakespeare's Sonnets
• 4.1 Shakespeare's Sonnets
• 4.1.1 Form
• 4.1.2 Content
• 4.1.3 Theme
• 4.2 Shakespeare's Sonnets Translation in China
• 4.3 The Three Translators
• 4.4 Translator's Subjectivity in Three Chinese Versions of Shakespeare's Sonnets
• 4.4.1 Manifestation of Translator's Subjectivity in Poetic Form Transplantation
• 4.4.1.1 Rhyme
• 4.4.1.2 Rhythm
• 4.4.2 Manifestation of Translator's Subjectivity in Content Transmission
• 4.4.2.1 From the Cultural Perspective
• 4.4.2.2 From the Linguistic Perspective
• 4.4.3 Manifestation of Translator's Subjectivity in Theme Interpretation
• 4.4.4 Manifestation of Translator's Subjectivity in Style Reproduction
• 4.4.4.1 Diction
• 4.4.4.2 Syntax
• 4.4.4.3 Figure of Speech
• 4.4.4.4 The Couplet
• 4.4.5 Summary
• 4.4.5.1 Liang's Version
• 4.4.5.2 Tu's Version
• 4.4.5.3 Gu's Version
• Chapter 5 Conclusion
• 5.1 Major Findings
• 5.2 Suggestions for Further Research
• Bibliography
• Acknowledgements