文学翻译中的译者主体性研究 ——以《海上花列传》英译本为例

论文摘要

《海上花列传》是我国最早的一部吴语白话狭邪小说。它上承传统“奇书文体”,下启海派小说“新大众传奇”的先声,客观再现了光绪年间上海青楼女子的生存状态。小说英译本由张爱玲和孔慧怡合译,在美国出版,填补了吴语人情狭邪小说英译的空白,在传奇文书英译史上具有重要意义。相关研究表明,在翻译《海上花列传》的过程中,张爱玲充分显示了其传统与现代结合的语言、文化、艺术素养与人生观、世界观;与此同时,其对译本翻译策略和方法的选择彰显了译者主体性在翻译过程中的作用。在翻译历史上,译者作为翻译主体的身份和作用在很长的一段时间里得不到应有的认同,导致了译者文化地位的边缘化和在翻译研究中对译者创造性工作的忽视。但是,随着人们对于翻译研究的不断深化,译者作为中心主体的地位得到了肯定。译者在文学翻译中发挥主观能动性,是积极的实践者和决策的制定者。本文尝试运用描述性翻译研究方法,将译者主体性理论与张爱玲对《海上花列传》的翻译实践结合起来进行研究。文章首先介绍了张爱玲对《海上花列传》的英译,然后结合国内外相关研究成果,对译者主体性进行了界定,澄清了译者主体性与翻译主体性之间存在的异同,指出译者主体性决定译者对翻译文本的选择以及翻译过程中翻译策略和翻译方法的选择和调整。全文的主体部分通过大量例证对《海上花列传》英译本中的译者主体性进行了描述性研究。论文最后对全文进行简要的概括和总结,再次强调文学翻译中译者的主体性地位,同时指出了本研究的贡献和意义以及可能存在的局限和今后研究方向。

论文目录

• 摘要
• ABSTRACT
• Chapter One INTRODUCTION
• 1.1 The Translation of The Sing-Song Girls of Shanghai
• 1.2 Significance and Scope of the Study
• 1.3 Research Methodology
• 1.4 Structure of the Thesis
• Chapter Two LITERATURE REVIEW
• 2.1 The Concept of the Translator's Subjectivity
• 2.1.1 Subjectivity and the translator's subjectivity
• 2.1.2 Translation subjectivity and the translator's subjectivity
• 2.2 A Review of the Study of the Translator's Subjectivity
• 2.2.1 The marginal status of the translator
• 2.2.2 The study of the translator's subjectivity abroad
• 2.2.3 The study of the translator's subjectivity in China
• Chapter Three THE APPLICATION OF THE TRANSLATOR'S SUBJECTIVITY IN TRANSLATION PRACTICES
• 3.1 The Translator's Subjectivity:How It Is Defined
• 3.1.1 The translator's subjectivity and author orientation
• 3.1.2 The translator's subjectivity versus source text orientation
• 3.1.2.1 The translator's subjectivity versus linguistic equivalence
• 3.1.2.2 The translator's subjectivity versus literal translation and liberal translation
• 3.1.3 The translator's subjectivity versus reader response orientation
• 3.2 The Translator's Subjectivity Implied in the Skopos Theory
• 3.2.1 The Skopos theory
• 3.2.2 The translator's subjectivity implied in personalized realization of aim of the ST
• 3.2.3 The translator's subjectivity shown in the TT personalized realization
• 3.3 Realization of The Translator's Subjectivity
• 3.3.1 The translator's subjectivity and his/her choice of translation subject
• 3.3.2 The translator's subjectivity and his/her choice of translation strategy and method in the translation process
• Chapter Four THE TRANSLATOR'S SUBJECTIVITY IN THE SING-SONG GIRLS OF SHANGHAI
• 4.1 The Sing-Song Girls of Shanghai:Its Unique Place in Literary Translation
• 4.2 Eileen Chang:A Writer-Turned-Translator
• 4.3 The Translator's Subjectivity in Eileen Chang's Choice of The Sing-Song Girls of Shanghai
• 4.4 The Translator's Subjectivity in Eileen Chang's Choice of Translation Strategy and Method in Translation Process of The Sing-Song Girls of Shanghai
• 4.4.1 Modifying the content in the TT of The Sing-Song Girls of Shanghai
• 4.4.2 Explanation in characterization in the TT of The Sing-Song Girls of Shanghai
• 4.4.3 Inheriting the narrative mode in the TT of The Sing-Song Girls of Shanghai
• 4.4.4 Assimilation and adaptation in culture in the TT of The Sing-Song Girls of Shanghai
• Chapter Five THE TRANSLATOR'S SUBJECTIVITY FROM THE PERSPECTIVE OF LOYALTY EXEMPLIFIED BY THE SING-SONG GIRLS OF SHANGHAI
• 5.1 The Translator's Subjectivity and Loyalty
• 5.2 The Translator's Subjectivity Functions to a Certain Extent
• 5.3 The Translator's Subjectivity and Creative Treason
• 5.4 The Translator's Subjectivity and Eileen Chang's Understanding of Creative Treason in The Sing-Song Girls of Shanghai
• 5.4.1 Understanding the source text from her personal experience
• 5.4.2 Understanding the source text from her cultural identity
• 5.4.3 Understanding the source text from her language identity
• 5.5 The Translator's Subjectivity is Not Beyond Restrictions
• Chapter Six CONCLUSION
• REFERENCES
• ACKNOWLEDGEMENTS