【作者】 谢华；

【导师】 张定铨；

【作者基本信息】 上海外国语大学 ， 英语语言文学， 2011， 博士

【摘要】 翻译,从广义的角度来说是一种哲学活动,哲学从某种意义上说是全部科学之母;哲学活动的本质就是精神还乡,凡是怀着乡愁的冲动,到处寻找精神家园的行为,皆可称之为哲学活动。翻译,尤其是文学翻译,是一种创造活动,因而也可以看作是一种哲学活动。和其他文学创作活动一样,翻译是对真、善、美的追求。哲学活动渗透于整个翻译的过程。美学是研究人的感性的科学,是研究美的科学。文学与美学有着不解之缘,而中国的美学对中国翻译理论的影响尤甚。一部中国的翻译史堪比一部翻译美学史。翻译美学是美学与翻译的结合,是用美学的基本原理,剖析、阐释和探究语际转换中的美学问题,包涵审美客体(原作品,译文作品)的审美构成、主体(译者和读者)的能动作用、审美主体和客体与接受者之间的关系、翻译中审美再现的手段和类型、翻译美学的标准等。语言历史与文化的历史相辅而行,语言翻译的过程也是文化翻译的过程,文化翻译的辩证法就是从文化客体的翻译到文化自我的构建。中国传统的译论映射出哲学、美学与翻译学有着密切的关系。论文综观中国翻译美学与语用学翻译美学的哲学—美学思想,探索语用学翻译美学的审美主体和客体、审美的认知图式与审美再现原则、文化美学与文化传真、灵感翻译美学、语用学翻译美学综观,提出中国语用学翻译美学正走向动态的理性的语用意义、语用价值与语用美学的高度统一。在美学的熏陶下,中国优秀的翻译家们不遗余力地译介外国优秀作品,同时也把中国的文化文学作品推向世界,形成了具有中国特色的翻译美学理论。本论文讨论了历代译者对中国美学的传承与开拓,从中提炼出中国翻译美学的精华,即要保持译作之美应达到务忠实,求畅达,重神韵,创意境,并以此作为本论文的理论基础,在此基础上进行译例分析。许渊冲、郑振铎、冰心译的诗词力图保持原文语言之美,尤其是意美,音美,形美,接近其神韵,重构其意境,取得了极高的成就。本文作者欲借助总结的中国翻译美学理论精华,以许译诗词为例,分析翻译中的美学特质,研究赏析翻译之美,并在此基础上提出在翻译中重构语言神韵。根据翻译美学的原理,从美学视角分析杨宪益、霍克思的《红楼梦》英译本,比较郑振铎和冰心的泰戈尔诗歌译本,探索译者如何在文学翻译中再现原文的艺术美,即文学美、音乐美。文学语用翻译的过程就是一个完整的特殊的审美过程,在这个审美过程中,译者要想把原文的审美价值转化到译文中去,应站在读者的审美立场,认真考虑文化传统、语言表达和灵感创新这三个方面,从而让读者真正地体会到原文的审美价值和语用价值。人的审美属性使人的审美体验无处不在,然而,人的审美体验又各有差异。文学作品具有很高的审美价值,这种审美价值不仅表现在形式上也表现在内容上。不同的审美取向产生不同的审美结果,针对文学作品的两个关键属性——语言和文学的审美视角,从理论和实践上论证了译者的审美取向对其风格的影响。译者是翻译过程中的一个重要因素。从哲学和文化视角来看,译者作为一个具有独立思维,文化立场和价值观的个体,其主体性和主观能动性会在从选择原语文本、制定翻译策略、解决翻译困难、到追求翻译目的的整个过程中得到体现。译者作为个体在某些时候对翻译过程和翻译结果的影响是决定性的,而译者作为一个群体在译介原语文化和丰富译语文化,从而推进人类文化的整体历史进程上发挥着重大作用。然而迄今为止在翻译理论中有关于译者的研究还没有形成一个较为深厚的体系。译者的语言能力和翻译技巧还是翻译评论中较为关注的话题,而较深入的探讨则停留在译者在文化交流中的作用及其建构和颠覆文化的作用这一层面。本论文就译者的主体性因素如态度、动机、文化价值观念、偏见、目的和其本身的历史性等对翻译过程、译文和译语文化的影响进行全面的研究,希望能够较为深入地描述译者及其主体性的工作机制,从而推动对翻译活动本质的进一步理解。从哲学与文化视角探讨译者的制约因素是本论文的最大论域,近几年来,随着翻译主体性、主体间性以及与译者风格批评相关的学科理论的迅速发展、风格批评手段的先进化、科学化,使译者风格批评理论体系的建构水到渠成。论文第一章探讨了中西方翻译美学的渊源与发展历程;第二章从语用学视角探索翻译美学再现和转换过程,对翻译过程中的文化创造、文化转译、文化信息熵化和文化补偿作了深入研究;第三章从文学翻译审美意识形态生产、转换与超越层面对文学翻译与接受进行考证,笔者还尝试搭建了一个译者风格批评的理论框架。包括:翻译目的与译者风格、译学意识形态与译者风格、风格可译性与信达雅的再认识、译文的接受者与译者风格、译者的审美取向与译者风格。在译学意识形态与译者风格中,首先探讨了译学意识形态与意识形态的关系,以此明确译学意识形态的内涵以及与译者风格的关系,从理论和实践两个层面论证了译学意识形态中的主流文化认同和主流审美取向对译者风格和译文接受的制约与影响作用。从理论上厘清了翻译思想与翻译策略、翻译方法的关系,探究了翻译策略、翻译方法对译者风格的直接制约作用,最后以著名翻译家严复、林纾、傅雷、朱生豪、鲁迅、余光中为例,从实践上进一步阐释了翻译目的对译者风格制约作用,译者的翻译思想与译者风格的关系,本章还梳理了翻译目的论的代表性观点,列举了翻译史上翻译目的左右翻译实践的事实,旨在从理论和实践上论证翻译目的对翻译活动的影响;论文还讨论了几组核心的人际关系,即译者和赞助人,译者和作者,译者和接受者以及译者和译者自身之间的关系。译者在处理这些关系中所表现出来的文化立场、视界、态度、目的、能力、经验和历史局限性都是译者主体性的重要表现。笔者发现,翻译是译者有意识地实现完善自身和完成身份认同的一种手段。译者通过翻译实现情感、文化和自身追求的实现。第四章从语言哲学观层面对翻译审美批评、审美批评标准、审美批评共识、翻译批评思潮转向进行了更为广泛深入的研究,指出了中西语境下中国翻译批评发展策略。文章最后是结论部分。中国现代美学迄今为止已有百年历史,先贤们对美学学科建设和美学理论建构做了多方面的尝试和探讨,留下了丰富遗产。但我们要根据西方文化和中国传统文化两者的特征、价值取向等特点,结合自己的传统文化,不断融合与创新,使翻译美学的研究富有生命力。我们认为,中西译论主要可以分成以语言学、语用学为基础的科学论和以文艺学、接受美学为基础的艺术论两大取向,今后译论的研究方向应当是科学论与艺术论相融合,既关注双语内容与形式间的语言分析,也关注人在翻译过程中的能动作用。由此,科学论者也无法排除语言的主观艺术创造性,以及对它的艺术观。笔者认为,构建译论纯粹客观外在的规律是个美丽的神话,译论的科学性无处不涉及艺术再现和主观创造性。未来译学理论指向的是一种科学的语言艺术观,而艺术观其实也是诠释语言艺术的科学观。语言翻译的科学性是以其艺术性为本质和内涵的,科学性又是艺术性的升华与提高。中国的翻译美学发展正是在这种张力当中不断取得平衡与发展的。中国当代翻译美学立足于中国传统译论,并对之进行现代转换,吸收西方译论的研究和论证方法,借鉴现代美学的基本理论和结构框架来阐释翻译的机制和功能。经过十几年的发展,它已经成为一个具有中国特色的、具有跨学科特点的、有别于西方翻译理论模式的翻译研究学派,使中国的翻译理论带上了鲜明的民族特色。翻译美学还有待进一步发展和完善,它体现着中国译学的发展和创新,有利于中国翻译理论在世界翻译理论界占有一席之地。更多还原

【Abstract】 Translation, from a broad perspective, is a philosophical activity. Philosophy is the mother of all sciences. The nature of philosophical activity is spiritual home-return, thus those spiritual activities with nostalgic impulses, may be called philosophical activities. In a sense, both science and art creation activities can be viewed as philosophical. Translation, especially literary translation, as a creative activity in nature, can be seen as a philosophical activity. Translation is the pursuit of beauty and truth, and it involves philosophical concerns.Aesthetics, the study of beauty, is an eternal theme of Chinese literature. Ever since the emergence of translation, aesthetics and translation have been closely bonded together. Chinese aesthetics has exerted an even greater influence on the formation of Chinese translation theories compared with its counterparts in other countries. The history ofChinese translation history is comparable to one of translation aesthetics, the combination of aesthetics and translation, which borrows the basic principles of aesthetics to analyze, explain and solve the aesthetic problems emerging in interlingual conversion. Its main contents are aesthetic subjects, i. e. the translator and the reader, and aesthetic objects, i.e. the original work and the translated work, the aesthetic subject’s experience of aesthetic objects, the methods of representing beauty in translating process, the criteria of translation aesthetics and etc.Chinese traditional translation theory reflects that philosophy and aesthetics are closely related to translation. With a comprehensive survey of the Chinese translation Aesthetics and Pragmatic Philosophy, by exploring the aesthetic subject and object, the aesthetics of cognitive schemata and principles of aesthetic representation, and cultural aesthetics, this dissertation proposes a pragmatic, dynamic and rational approach to the study of translation theory.The process of literary pragmatic translation is a complete and special aesthetic process. During this process, if the translator wants to transfer the aesthetic value of the original text into the target text, he must take the reader’s aesthetic position and carefully consider the three aspects, namely, the cultural traditions, the linguistic expressions and the inspirational innovation, in order to let the readers truly appreciate the aesthetic value and pragmatic value of the original text.Translation theories at home or abroad both have a deep-rooted relation with aesthetics. After the cultural turn in translation study, many translators turn to translation aesthetics. Under the aesthetic edification, many excellent Chinese translators spare no pains to introduce outstanding foreign works into Chinese and popularize eminent Chinese works in the world around. In their practice, they have concluded a succession of translation aesthetic theories with Chinese characteristics. In ancient times, influenced by Confucius and other philosophers, many translators, such as Zhi Qian, Xuan Zang, sought to preserve the flavors of original works. In recent times, translation aesthetics has been put forward and it is on its way of development and advancement. Many translators, such as Yan Fu, Linshu, Fu Lei,Qian Zhongshu and Fu Zhongxuan, Xu Yuanchong, and Liu Miqing, are adherent in going on pursuing beauty yet are more innovative and insightful in presenting their views. This dissertation extracts and absorbs the quintessence of Chinese translation aesthetics, which includes four aspects: persistence in faithfulness, pursuit of expressiveness, emphasis on resemblance of spirit and creation of ideorealm, and uses them as the theoretic principles.The author of this dissertation strives to analyze the aesthetics temperaments in translation and appreciate the beauty of translation within the outline of Chinese translation aesthetics based on the case study of Zhengzhengduo and Bingxin’s translated works of poems. Consequently, the author provides a tentative conclusion of the strategies for reconstructing the charm of work and language in translation.The first chapter mainly discusses the aesthetics of Chinese and Western translation concerning originality and development process; the writer briefly introduces aesthetics and translation aesthetics, including definitions, contents and research on translation aesthetics. Moreover, the development of Chinese translation aesthetics has been elaborately explored. At the end of introduction, with a thorough analysis of the previous theories, the writer concludes that there are four eminent characteristics in Chinese translation aesthetics, namely, persistence in faithfulness, pursuit of expressiveness, emphasis on resemblance of spirit and creation of ideorealm, all of which serve as the theoretic guidance in the analysis of the text.From the perspective of pragmatic translation aesthetics, the second chapter briefs the conversion process of translation, process of cultural creation, cultural translation, cultural information and cultural compensation for the entropy. The process of literary pragmatic translation is a complete and special aesthetic process. If the translator wants to transfer the aesthetic value of the original text into the target text, he must take the reader’s aesthetic position and carefully consider the three aspects, namely, the cultural traditions, the linguistic expressions and the inspirational innovation, in order to let the readers truly appreciate the aesthetic value and pragmatic value of the original text. The dissertation analyzes Zhengzhengduo and Bingxin’s translation of poems, David Hawkes and Yangxianyi’s translation of The Story of the Stone based on the principle of translation aesthetics.Aesthetics is the study of beauty, an eternal theme of Chinese literature. In his original, as well as translated works, Xu has put forward his unique aesthetic views, such as the theory of“three beauties”, and tries to guide his translation with these principles.This dissertation takes a perspective of culture and philosophy on aesthetic translation studies, probing a series of theoretical issues regarding translation theory and the aesthetics of translation criticism. The translator is the most dynamic factor in translation. As an independent thinking entity, the translator unavoidably displays his subjectivities in the translation process. The motivation, purpose, strategies, methods and competence greatly influence the formation of the target text. The translator, as an individual, decides how a specific translation assignment is to be carried out; and translators, as a whole, plays an important role in intercultural communication and facilitating the development of human culture. However, so far most researches on the translator have only focused on human culture, his linguistic competence, translation skill and functions in cultural communication, and scarce attention has been paid to how the translator, as a crucial human factor, influences the translation process with motivation, attitude, cultural orientation, value, prejudice, historicity and translation purpose, etc. In view of all these, the research has made an attempt to probe into the issue of how the translator involves him/herself in translation process and thus influences translation results. The main objective of this research is to provide an overall description of the working mechanism of the translator in the translation process with a view to facilitating the understanding of the nature of translation.The translator with his subjectivities is the core of my discussion. I explore the translator’s involvement in translator from the perspectives of his selection of translator in both Chinese and Western translation theories.In the third chapter, the author tries to build a theoretical framework for translator’s style of criticism, which includes: the purpose and the translator style, ideology and the translator style, translation style of the recipient and the translator, the translator’s aesthetic orientation and translator’s style, literary translation and acceptance, cultural identity and aesthetic style, aesthetic criticism of standards, consensus of aesthetic criticism. Chapter four takes a perspective of philosophy on translation aesthetic criticism, aesthetic criticism of standards, consensus of aesthetic criticism, translation criticism thoughts to a more extensive study. Chapter three and chapter four probing a series of theoretical issues regarding the translator’s aesthetic bent, as one of the constraints, is also discussed in this chapter. It is found that the translator’s style has much to do with his aesthetic bent. Literary works can be called an art rich with the aesthetic value expressed both through the form and the content. The translator’s preferences in dealing with the form and the content lead to a special way of expressing. I expound on the way the translator’s subjectivities work in the interpersonal relationships in translation. In my view, translation is also an interpersonal activity which involves many participants, including writer, translator, reader, translation commissioner, patron, translation distributor, publisher, reviewer, editor and source cultural expert, and so on forth. The patron, the author, the translator and the reader form the core interpersonal network in the translation process, and the translator is the center of this network because he needs to coordinate the interpersonal relationships in order to achieve the desired translation effects, which, as a result, mirrors the translator’s subjectivities. In this chapter, I focus on the relationships between the translator and the patron, the translator and the author, the translator and the reader, and the translator, which also shed some light on how the translator’s subjectivities work in the translation process.The conclusion is a summary of my findings in the above discussion, including the features and the contributions of the current research, as well as the problems awaiting further research. The conclusion reiterates the impact of Chinese translation aesthetics on Chinese translation. The expectation is that, with the perfect combination of aesthetics, works of better quality will be produced. The author intends to explore the relationships between translation and aesthetics. Through the analysis of the definitions of translation and aesthetics, the author believes that translation and aesthetics can be linked with each other by language, and translation aesthetics involves studies of the original text, the translated text, and the translation process. This dissertation also illustrates that the application of aesthetic analysis in translation contributes to the equivalence of the original text and the translated text, and aesthetic analysis in literal translation has certain advantages. There exist the aesthetic formations of symmetry, sublimity, and etc, in the translation process.The contemporary Chinese translation aesthetics establishes itself on the traditional Chinese translation theories, and endeavors to transform them into modernized translation theories. Absorbing the methodology from western translation studies, and borrowing the fundamental theories and structure from Aesthetics, it studies translation mechanisms and functions from its distinctive perspective. After several years of development, it has become a school of translation study in China, with interdisciplinary feature and typical Chinese characteristics, different from the western translation theories. It makes China’s translation study take on distinctive national features. Although it is not very mature and needs further improvement, it reflects the development and innovation of Chinese translation studies and helps us to give forth the Chinese voice in the arena of world translation theories.更多还原