【作者】 李青夏；

【导师】 余东；

【作者基本信息】 广东外语外贸大学 ， 翻译学， 2013， 硕士

【摘要】 在翻译美学中，模仿是审美再现的基本手段，其指的是译者在忠实于原文的内容和思想的基础上，通过模仿原文的外在形式、内在形式和象征意义这三个层级的文学美，从而达到原文和译文在审美效果上的动态对等。文学翻译的独特性在于其所再现的美学效果，其最终目的是实现文学作品的审美再现。审美再现是一切翻译审美活动落到实处的终端环节，这时译者要采取一定的审美再现手段，将全部审美活动的成果落实到译文展现给读者。作为审美主体的译者一方面受制于审美客体，同时又要发挥自身的主观能动性，这就决定了审美再现要以模仿为基本手段。本文旨在对审美再现中的模仿手段进行综合研究，采用理论研究结合比较研究的方法，深入探讨模仿的历史渊源及其模仿对象等。本文采用刘宓庆对模仿的三分法，即分为以原语为依据的模仿、以译语为依据的模仿和动态模仿三种，并以此为框架展开对《名利场》的杨必译本和彭长江译本的比较分析，探讨译者如何应用不同的模仿方式传达原作的美。通过分析不同译本中对这三种模仿方式的使用情况及所得的审美效果，本文得出以下结论：模仿源自译者在翻译过程中将原文映射到译文的认知本能，是翻译过程中基本的认知活动，是审美再现的基本手段。模仿不是机械复制，而是创造性的，追求最优化的与原文最接近的审美效果；在模仿这一基本手段中凝聚并体现了文学翻译审美再现的三个原则：艺术模仿原则、艺术原创原则和艺术优化原则。三种模仿方式各有所长：以原语结构为依据的模仿能更好再现原文的陌生化或前景化手法；以译语为依据的模仿能充分发挥译入语优势，得出可读性和接受性高的译文；动态模仿则集前二者之所长，寻求在高层级上文学美的模仿。具体采用哪种方式，一方面和译者的审美理想紧密相关，另一方面和具体行文结构和审美信息的激活方式有关。译者要在充分理解原文美学信息的基础上，综合考虑以上两个因素进行灵活选择。更多还原

【Abstract】 Imitation is the basic means of aesthetic representation in translation aesthetics. It refersto the process in which translators creatively imitate the literary beauty as found in theoutward form, the inward structure, and the symbolic meaning of the original on the basis offaithful transfer of semantic content and idea of the original, so as to achieve dynamicequivalence in the aesthetic sense. The uniqueness of literary translation lies in the aestheticeffects it represents, which is also its aim. Aesthetic representation is the terminal of theaesthetic process of translation, in which the translator instills all his/her aestheticachievements into the target text before presenting them to target readers. As aesthetic subject,the translator is subject to the objective conditions of the aesthetic object in bringing into playhis/her subjective dynamics. This in turn determines the role of imitation as the basic meansof aesthetic representation.This thesis is meant to be a comprehensive study of imitation. It establishes acomparative model supported by theoretical study, and probes into the historical origins ofimitation and its object. According to Liu Miqing, there are three categories of imitation:SL-oriented imitation, TL-oriented imitation and dynamic imitation. Using this categorizationas the theoretical framework, the thesis conducts a comparative study of the two Chineseversions of Vanity Fair by Yang Bi and Peng Changjiang, to discuss the imitationphenomenon to represent the original beauty.Through the detailed analysis of the application of different kinds of imitation indifferent situations, and the evaluation of the resulted aesthetic effects, the thesis comes to thefollowing conclusions: Imitation is the basic cognitive activity in translation and thus thebasic means of aesthetic representation. It arises from people s cognitive instinct to project thesource text to the target text in translation. Instead of being mechanical copying, imitation isinherently creative and aims for the optimized aesthetic effect that is closest to the original. Infact it embodies the three guiding principles of aesthetic representation, of which it is a part:artistic imitation, artistic creation, and optimization. Each of the three kinds of imitation has its own advantages: SL-oriented imitation is apt to represent the defamiliarization devices orforegrounding devices of the original; TL-oriented imitation is apt to produce translationswith high readability and acceptability by making the best use of the target language; dynamicimitation combines the advantages of the previous two kinds and pursues imitation of theoriginal beauty at higher levels. As to which kind of imitation to be used, it is closely relatedto the translator s aesthetic ideal on one hand, and on the other, has to do with the specificcontext and texture of the original, as well as the difference of the activation of aestheticinformation between the two languages. The translator must, based on his/her understandingof the original aesthetic information, flexibly choose the fittest kind of imitation by takinginto consideration the above two factors.更多还原