翻译——《浮躁》英译本个案研究

导读:Chapterl'hreeFuzzyLanguageinLiteraturecharacteristicoflanguage,fuzzinessreflectsineveryaspectoflanguage.Somefuzzinessinlanguageisnatural—bom,whilesomeotherisman—made.Inliterarywork

翻译——《浮躁》英译本个案研究

Chapterl'hreeFuzzyLanguageinLiteraturecharacteristicoflanguage,fuzzinessreflectsineveryaspectoflanguage.Somefuzzinessinlanguageisnatural—bom,whilesomeotherisman—made.Inliteraryworks,fuzzylanguageisusedonourdailycommunicationorpurposetOcreateindistinctsituationsinwhichthecanconnotationsneeddetecting.BydoingSO,thewriterorleavereadersawideroomtoimagine,thespeakercanexpresshimselfinorarathersafeway.Wehavetoassociatethefuzzyexpressionswiththecontextexperiencetocomprehendtheunderlyingmeanings.Thiskindofunnaturalfuzzinessisusuallycalledpragmaticfuzzinessinwhichpeopleexploitfuzzylanguagetomeetcertainneedspurposely.HerethedescriptionofonesceneincanBaJin’Swell.knownnovelTheFamilybeborrowedtoexplaintheapplicationofpragmaticasafuzziness.Mingfeng,aservantgirlinGaoclan,knowsthatshewillbesenttoOldFengconcubineanddecidestokillherselfinprotest.ShecomestobidherlastfarewelltoJuehuiwhomshelovesdeeply.他(指觉慧)指着面前一大堆稿件、几份杂志和一叠原稿纸对她说:“你看我忙得跟蚂蚁一样。再过两天就好了,我就把这些事情都做完了,再过两天。……我答应你,再过两天。”“再过两天……”她绝望地悲声念着这四个字,好像不懂它们的意义,过后又茫然问道:“再过两天?”鸣风不说一句话,她痴呆地站在那里。过了一会儿,她又喃喃地念着:“再过两天……”(巴金,2009:116)Mingfengsays“再过两天……”threetimes,whichistheellipticfuzzyexpressiontoJuehui.Thisfuzzinessleadstothetragedythatleavesreadersdeepregretanddeep-seatedgrief.Ifthewritercompletesthecontentsomitted,theaestheticbeautyofthecharacterwillbetotallylost.西北人学硕j:学位论文ChapterFourAestheticsofReceptionandLiteraryTranslationAestheticsofreception,alsocalledreceptiontheory,isAsaatypeofliterarycriticismtheory.newly—developedmethodologyinliteraryresearch,itwasborninthe1960sattheonUniversityofConstanceinthesouthofGermany.Thetheoryhasdevelopedprofoundhistoricalthebasisofandphilosophicalsources:RussianFormalism,PragueStructuralism,RomanIngarden’SphenomenologyandHans—GeorgGadamer’Shermeneutics,etc.AllthesetheoriesofferRobertJaussdeliveredaasolidandbeneficialintellectualclimateforitsformationandIserareboom.HansandWolfgangtwoasamajorrepresentativesofthetheory.In1967,Jausslecture‘‘LiteraryHistoryProvocationtoLiteraryScholarship’’inwhichthearebasicconceptsandtheoreticalframeworkofaestheticsofreceptionelaborated.Therefore,thislecturemarksthebirthofaestheticsofreceptiontheory.Afterwards,ithasbeenspreadsooninAmerica,Japan,RussiaandotheraEuropeancountriesandinagreatpopularityinliterarycriticismcircle.Nowadays,itissignificantschoolofcontemporarywesternliterarytheory.Lookingbackonthedevelopmentofliterarytheories,therearegenerallythreephases:author-centeredintheRomanticismperiodand19t}lCentury;text.centeredintheageofneo.criticismofBritainandAmerica;andattentiontransferencetothereaderinrecentyears.Aestheticsofreceptionpioneeredmainresearchanewdirectioninliteraryresearch.Ittakesthereaderastheobjectandputstherelationshipbetweenthereaderandthetextinaprominentpositioninliterarystudies.Thetheorywelladmitsthereader’Screationinachievingthemeaningandaestheticvalueofaliterarywork.Itholdsthatanyliterarytexthasitsclosed.indeterminacy.Themeaningofthetextisdynamicandopen—endedratherthanstaticorItisfullyrealizedafterthereader’Shorizonfuseswiththehorizonofthetextinthereadingprocess.Thereader’Sinterpretationandreceptionistheconcretizationofthetextandthearealizationoftheliterarywork.Theliterarytextisgivenlifeandbecomesrealworkofartbyreading;otherwise,itisonlyapieceofwrittendiscourse.Therefore,thereader,aSthereceptor,isofgreatimportanceinthewholeliteraryreceptionactivity,andshouldbegivenmuchattentionandpriorityasanactiveparticipantinthetriangleofauthor,workandthepublic(thereader).Inthefollowingsubsection,somekeyconceptsofaestheticsofreceptionChapterFourAestheticsofReceptionandLiterary’Franslationareelaboratedtomakeorealloverallandin-depthunderstandingofthetheory,SOthataenlighteningthoughtsperspective.fromexpectedtobeprobedtoaccountfortranslationstudiesnew4.1KeyConceptsofAestheticsofReception4.1.1HorizonofExpectationsOutoftheconcernoftheliteraryhistory,Jaussputforwardaestheticsofreceptiontheoryandarguedthatliteraryhistorywas‘‘aprocessofaestheticreceptionandproductionwiththerealizationofliterarytexts”(Jauss,1967:20).“Horizonofexpectations”,derivedfromoftheimportantconceptsHeidegger’S‘‘pre—understanding’’andGadamer’S‘‘prejudice’’,isoneinaestheticsofreception.Itconnectstheauthor,thetextwithsocialprocess.andthereadeLandlinksliteratureInabroadsense,itmeansthehorizonofexperienceindailylifeincludingacommunity’Soranindividualreader’Sassumptionsortothewholesocio-culturalworld;inthenarrowsense,itaincludespresumedartisticliterarynormsandconventionsofparticulartime,relatingtogenre,style,andformoftheliterarytexts.(Rush,1997:79-81)Practicallyspeaking,theliteraryhabitsculturalandeducationalbackgroundasandaccomplishments,aestheticexperiences,anwellastheworldvieworealldecidingfactorsforindividualreadertoformhisspecifichorizon.Duetothediversityofculturalbackgroundandsocialenvironment,readersbringtheirdifferenthorizonsofexpectationsintotheliterarytextwithdifferentreceptionabilities,andthenreachvariousinterpretationsandunderstandingsoftheimpliedmeaningofthetext.“Horizonofexpectations”isdividedintodirectedexpectationandcreativeexpectation.Directedexpectationreferstotheliteraryandculturalhabitalreadyexistinginthereader’Smindanddrivesthereadertofindoutthecontentfamiliartohim.Itfunctionsasassimilation.HoweveLthereaderissometimesnotsatisfiedwiththetotallyfamiliarinformationinthework.Hedoesn’twanttojustreceivethetextpassively.Instead,heisprobablyinterestedinorevenexploringsomethingdifferent,unfamiliarpolishhisstrangeinhisexistinghorizon.Hehopestolanguage,reviewexotichistoryorexperienceforeigncultureinhisreading.Undersuchcircumstances,thereader’Spasthorizonofexpectationswillbeshiftedandreconstructed,西北人学硕士学位论文andwillfinallyachieveaboutunknownorakindofmediationwiththepresentone.Thedesireforgettingmoreforeigninformationistheveryembodimentofthecreativeexpectation.Itjustfunctionsasacclimation,whichpromotesthereadertoabsorbunfamiliarityandnewness.Therefore,intheprocessofunderstanding,horizonofexpectationsisnotstaticbutchangingandbeingreconstructedconstantly.Accordingtoaestheticsofreceptiontheory,onlythroughthecombinationofthereader’Shorizonofexpectationsandthatofaliterarytextcanthetextbefullyunderstoodandaccepted.Thisiscalled“fusionofhorizons”.Itdoesnotmeanthatthereader’Shorizontextwithoutanydifficulty.OwingtodifferentsocialbackgroundCanandfusewiththatoftheculturaltraining,thereis“distancebetweenthehorizonofexpectationsandthework;andchange’distancebetweenthefamiliarityofthepreviousdeterminedbythereceptionofthenewaestheticexperienceandthe‘horizontalwork'’(Jauss,1982:25).Thisaestheticdeterminestheartisticcharacterofaliterarywork.Thereader’ShorizonofexpectationsisSOasgraduallyalteredandenlargedinthereadingprocess,thusthedistancewillbedecreasedtoreachabetterfusion.4.1.2IndeterminacyoftheTextAestheticsofreceptionconsidersthataliteraryworkhastwopoles:thetextandthereaders.Theformerwhomainlyfocusedistheartisticpoleonandthelattertheaestheticpole.DifferentfromJaussonthemethodologyofliteraryhistory,Iserconcentratedtextthereadingreactionsysteminsideafromamicro—angle.Heputemphasisontheinteractionbetweenthereaderandthetext.Heclaimedthat“meaningisnotcontainedinthetextitself,butratherisgeneratedduringthereadingprocess.Itisneitherpurelytextualtheresultofaninteractionbetweenthenortotallysubjective...buttwo”(Iser,1978:123).Aliterarytextahasbeenreadbyreadersofdifferentages.IthasdifferedlotfromtheoriginalonecreatedbytheauthorCallduringthisprocess.Becauseofvariousreceptionconditions,readersinterpretationsofthesameachievediversetext.Therefore,meaningisalwaysinamovementandexistsintheartisticpole,fusionprocessoftheinteractionbetweenthetextandthereaders.Thetext,asthecontainsindeterminacieswhichneedtobesettledbytheaestheticreceptionoftheotherpole-?????thereadenChapterFourAestheticsofReceptionandLiteraryTranslationTheindeterminaciesconstitutethe“appealingstructure”ofaliterarytext,whichcausesthereaderstofulfilltheblanksandgapsinthetextandupdatetheirhorizonofexpectations.Thisisconsideredastheprocessofconcretizationandrealizationofthetext.Asaresultoftherestrictionofreaders’ownknowledgeandexperience,differentreadersmaymakedifferentkindsofconcretizationofthesametextintheirreadingprocess.Italsoprovesthesayingthatifthereareonethousandreaders,thereareonethousandHarmlet,sinceasIsersaid‘‘iftheindividualreadergeneratesthemeaningofthetextthenitfollowsthatthesemeaningswillappearwitharisesaaslightlyindividualistictouch”(Iser,1971:3—4).Therefore,therecertainamountofindeterminacywhichispeculiartoallliterarytexts.4.1.3TheSubjectiveRoleoftheReaderanAccordingtoJauss,aliteraryworkisnotindependentaobjectthatprovideseachreadercallofeachperiodwiththesamepointofview.Itisnotwithoutconsideringtheoutsideactualorchestralmonumentandnotrevealitsnatureexperience.However,itismorelikenewechoesoftheaudienceapieceofconstantmusicwhichgraduallygetsthroughperformances.Thismakestherealexistenceofthepresenttextliberatedfromitsphysicalpattemofwordsandbecometheage(Jauss,1987:26).Fromthispointofview,weconcludethatreadersarenotjustpassivereceptorsfromtheperspectiveofaestheticsofreception.Theyarevitalfactorsforconstructingthemeaningofthetextorevengivelifetotheliterarytexttonomakeitapieceofart.Inaestheticsofreceptiontheory,theliterarytextisoverlongergiventhesupremacythereaders;onthecontrary,readersplayanactiveroleandtakeimportantstatusinliteraryreception.Therearealotofblanksandindeterminaciesinliterarytexts.Onlyintheprocessoftheseblanksandindeterminaciesbefulfilled.ThereadersfillintheblanksconcretizationCanwiththehelpoftheirimaginationandmakethetextconcretized.Theiractiveparticipationisread,theyalwaysforthetheimportantfactortointerprettheimpliedmeaningofthethinkpositivelyanddemonstrationofthetext.Whentheyandmakecontinuousexpectations,predicationsofajudgmentsmeaning.Therefore,themeaningworkisnotinherentbutonconstructedinthereaders’specificreading.Tosomeextent,itdependsthereaders’creativity.Readersshouldberegardedasthedynamicpartintheauthor-text-readertriangle

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