摘要：Traditional translation theory holds that a translator should be objective, should reproduce origin...Traditional translation theory holds that a translator should be objective, should reproduce original text faithfully, and should be able to seek a freedom from the tyranny of subjectivity. This dissertation proposes that the obtrusion of translators in translation practice derived from subjectivity does exist whether we admit it or not, and any translated texts are results of translators’ motivated choices.Starting with a revisit to the notion 'translation', 'translator' and that of 'culture', the thesis reiterates the importance of studying translation as a process in intercultural communication rather than an end product, and therefore translator’s cultural identity should never be neglected. This is especially the case in literary translation, which has its own special characteristics compared with other kinds of translations.The notion of 'translator’s subjectivity' is elaborated on through reviewing related theories and through examining the manifestations of translator’s subjectivity The 'Cultural Turn' in translation study, especially polysystem theory, Skopos theory, and deconstruction theories are reviewed to help understand the connotation of translator’s subjectivity from different perspectives. Translation, as a conclusion, should be viewed as a kind of cultural interaction, and translators always provide vital links enabling different cultures to interact.On the basis of the above theoretical framework, this dissertation then explores the manifestations of translator’s subjectivity in translation practice. Translator’s subjectivity runs through the whole process of translation (from the understanding of source text and the expression of his/her understanding). In the latter category, target culture background, intended readership, guiding translation theory or. strategy of the translator, and the position of translated literature within literary polysystem are all factors that influence translator’s subjectivity, which then leads to different translated texts. In this part, translators’ own justifications of their translation strategies are carefully examined instead of simple linguistic comparison of different translations. In this way, translators are no longer 'invisible', but being studied as a decisive factorin translation study.The effects of translator’s subjectivity are examined through case study of several influential translators in history, such as Lin Shu (林纾), Yan Fu (严复), and Lu Xun (鲁迅). The emphasis here, again, is not laid on version-to-version comparison, but on the exploration of reasons why different versions come into being.But, the dissertation further points out that, translator’s subjectivity should not be overemphasized as personal likes and dislikes, that is to say, we need to notice the 'invisible hand' behind every translators’ subjectivity, that is, the social background and ideology of the time, because every individual is a part of the society he/she lives.Through the study of translator’s subjectivity, the dissertation puts forward some new thoughts on translation studies, especially on translation criticism. The source text is not static, but rather a part of the cultural circumstance in which it is produced It’s meaning depends on translator’s interpretation in a different cultural circumstance. Therefore, the translated text should not be viewed as a 'copy' of the original one. and traditional thoughts on translation criticism should be changed fundamentally.显示全部
摘要：文学翻译历来以其独特的艺术性和复杂性而备受关注,它不仅是语言和字面意义上的转换,而且要求忠实再现原文...文学翻译历来以其独特的艺术性和复杂性而备受关注,它不仅是语言和字面意义上的转换,而且要求忠实再现原文学文本的艺术现实,使译文读者得到与原文读者相同的美感享受,这就决定了文学翻译是一项复杂的创造性活动。再创造是文学翻译的核心,关系到文学翻译的成败,没有再创造就没有文学译本的再现和生成。阐释学作为一门对于意义的理解与解释的哲学理论,所关心的问题与翻译研究联系十分紧密。本文拟从伽达默尔现代阐释学中有关理解的几个核心概念——“偏见”、“视域融合”等入手,浅析文学翻译的本质是艺术的再创造这一特征对翻译研究的意义。傅东华先生是第一位将美国畅销小说“Gone with the Wind”(《飘》)翻译介绍给中国读者的翻译家。长期以来,翻译界对他这部译作的评价褒贬不一,毁誉参半。本文以阐释学翻译理论为基础,对傅东华先生的译作《飘》进行了较为全面的分析,力求得出较为客观的评价。除引言和结语外,全文由四章组成。第一章介绍了阐释学翻译理论的发展概况,奠定了本文的理论基础;第二章论述了文学翻译的定义及翻译过程,并进一步对再创造的概念、文学翻译过程中再创造的必要性和可能性进行了论述;第三章为本文的重点,运用德国哲学家伽达默尔的哲学阐释学,重点论述了其“偏见”、“视域融合”等观点,并以此为基础论述了再创造在翻译过程中的必要性、可能性和表达过程中对再创造“度”的把握;第四章以傅东华先生的译本《飘》为例,从“视域融合”的角度浅析傅东华先生通过增加、省略、转换等翻译方法对作品进行再创造,并从译者当时的社会文化及历史背景出发分析了文学翻译过程中再创造的“偏见观”因素。从而论证了再创造并不意味着译者随意自由的发挥和对原作的完全叛逆,而是在忠实再现原文的思想内容和精神,在遵循译语语言和文化的基本规范的基础上美的创造;结语部分对全文作了回顾和总结。显示全部
