文学翻译中的译者主体性——以《傲慢与偏见》为例
The Translator’s Subjectivity in Literary Translation—Taking Pride and Prejudice as an Example
摘要: 本论文深入探讨了文学翻译中的译者主体性,强调译者不仅是语言转换者,更是文化与艺术的创造者这一身份。译者的主体性是翻译活动的核心要素,译者通过自身的理解、判断和创造,在尊重原作的基础上对文本进行个性化的处理,从而使得翻译不仅仅是一种语言的再现,更是文化的重塑与艺术的再创造。这种译者主体性赋予了译文独特的生命力和文化价值,展示了译者在翻译过程中的主导作用。孙致礼和张经浩的翻译工作不仅体现了个人的翻译理念与风格,也反映了中西文化之间的融合。在他们的翻译中,文化的差异与共性得以体现。通过对语言的巧妙处理和对文化背景的深刻理解,孙致礼与张经浩成功地将西方文学的魅力与东方文化的审美相结合,使得《傲慢与偏见》不仅在内容上引人入胜,更在形式上展现出独特的美感。这种文化的融合不仅增强了作品的深度,也让读者在阅读中得以欣赏到两种文化的魅力。
Abstract: This thesis discusses in depth the translator’s subjectivity in literary translation, stressing that the translator is not only a language translator but also a creator of culture and art. The translator’s subjectivity is the core element of translation activity. Through their understanding, judgment, and creation, translators personalize the text based on respecting the original, thus translating not only a language reproduction but also a cultural reshaping and artistic re-creation. This translator’s subjectivity gives the translated text a unique vitality and cultural value, demonstrating the translator’s leading role in the translation process. The translation work of Sun Zhili and Zhang Jinghao not only reflects their personal translation concepts and styles but also reflects the fusion between Chinese and Western cultures. In their translations, cultural differences and commonalities are reflected. Through their clever handling of language and deep understanding of the cultural background, Sun Zhili and Zhang Jinghao successfully combined the charm of Western literature with the aesthetics of Eastern culture, making Pride and Prejudice not only fascinating in terms of content but also unique in terms of beauty in form. This fusion of cultures not only enhances the depth of the work but also allows readers to appreciate the charms of both cultures in their reading.
参考文献
|
[1]
|
陈大亮. 谁是翻译主体[J]. 中国翻译, 2004(2): 5.
|
|
[2]
|
雷芳. 译者主体性在新闻翻译中的彰显[J]. 中译外研究, 2014(1): 190-197.
|
|
[3]
|
陆桂晶. 论新闻翻译中的译者主体性[J]. 上海翻译, 2014(4): 34-38.
|
|
[4]
|
许均. “创造性叛逆”和翻译主体性的确立[J]. 中国翻译, 2003(1): 6-11.
|
|
[5]
|
查明建, 田雨. 论译者主体性: 从译者文化地位的边缘化谈起[J]. 中国翻译, 2003(1): 21-26.
|
|
[6]
|
Venuti, L. (1995) The Translator’s Invisibility: A History of Translation. Routledge, 7, 18, 308-311.
|
|
[7]
|
杨莉, 王玉红, 关娇. 文学翻译中的译者主体性研究[M]. 北京: 中国纺织出版社, 2020.
|
|
[8]
|
胡作友, 钟莎莉. 翻译中的视域融合与译者主体性[J]. 当代外语研究, 2023(6): 147-155.
|
|
[9]
|
胡少红. 主体间性视域中的译者主体性反思[J]. 外语学刊, 2014(1): 108-111.
|
|
[10]
|
胡作友, 钟莎莉. 翻译距离与动态调整[J]. 中国翻译, 2022, 43(4): 5-12, 190.
|
|
[11]
|
黄勤. 翻译美学视角下的文学典籍译者主体性阐释——以“共读《西厢》”两英译本为例[J]. 红楼梦学刊, 2013(3): 211-226.
|
|
[12]
|
周志宇. 文学翻译中译者主体性的体现与创新[J]. 今古文创, 2022(48): 66-68.
|
|
[13]
|
汤林峄. 论《大公报∙文学副刊》的文学翻译研究[J]. 湖南社会科学, 2013(5): 60-63.
|