【作者】 胡波；

【导师】 张璘；

【作者基本信息】 江苏大学 ， 外国语言学及应用语言学， 2009， 硕士

【摘要】 传统翻译理论属于规范性翻译学范畴。传统翻译学与翻译实践处于割裂状态,导致翻译理论以点代面,把仅仅适用于某些体裁的翻译标准推而广之,它所关注的只是翻译的两极,即原作和译作,并对大量的没能实现这些标准的译品大力挞伐,而对译者之所以采用与这些标准相抵触的翻译策略的原因以及这些译作对译语文化发展做出的巨大贡献不闻不问,由此引发了对目标语文化做出巨大贡献的译作究竟是不是翻译,直译和意译,以及归化和异化的长期争论。此种情况下,描述翻译学顺应时代需求,应运而生。宽容是描述翻译学的显著特征,在描述翻译学的指导下,翻译研究最重要的是探讨为何在此种情境中是对等的,什么样的社会文化和意识形态影响了译者的翻译策略,译者需要达到什么样的目的,有没有达到以及相关的原因。这些才是翻译研究所真正关心的。创造性叛逆是个描述性的概念,同时也是非常具有争议的概念,本文认为它不是从技术层面上对翻译的技巧、方法给出具体的操作,而是一个经验的描述和解释.它是要挖掘出译者在翻译的产生、译本的接受过程中那些被遮蔽的、潜藏在表象之下的本真的存在方式的揭示。创造性叛逆除了具有四个规定性特征——普遍性、原文本的规定性、双重性和描述性之外,还有主体性与不完整性的特征,这样有关创造性叛逆的争议就被廓清了一个范围,不会产生原文意义的无限散播。更为重要的是,我们认为,就主体而言,接受环境很自然应该被考虑进来,但是它并不构成主体的内容,只是起到影响主体的一个限制作用。本文通过儿童文学的娱乐性、艺术特色与审美追求三个方面来解释儿童文学翻译过程中创造性叛逆的必然。为了再现原文的娱乐性、艺术特色与审美追求,赵元任在翻译的过程中最大程度地发挥了其创造性。并且将赵元任译文《阿丽思漫游奇境记》放入当时特定的时期——五四来考察,从而更好地阐释了接受环境中的创造性叛逆。最终结论是,赵元任的这种创造性叛逆实际上也是忠实于原文的一种方式,目的是要达到与原文一样的艺术效果和成就,进而在儿童文学的艺术王国中占据一席之地。更多还原

【Abstract】 Traditionally,translation theory fell into the category of prescriptive studies,being isolated from translation practices,with its limitation in fanning out from point to area, trying to spread the translation standards which were only applicable to some types of literature to all,and issues have long been arising on whether those texts,which have made great contribution to the target culture,were translated ones or not.And also some other continuous arguments came about,such as,literal translation and free translation, domestication and foreignization.Within the above-mentioned situation of limitation, descriptive translation studies have emerged as the times’ demand.Tolerance is the most obvious characteristic of descriptive translation studies.Under the guidance of descriptive translation studies,the most important thing is to study the reason why it is equivalent under that situation,what kind of social culture and ideology have contributed to the translators’ strategies,what aims the translator want to achieve, whether it has achieved or not,and the concerning reasons.These are all what the descriptive translation studies really concerns about.Creative treason is a descriptive concept,also a controversial one.It will not provide any specific operational techniques and methods for translation from the technological level;it is nothing but the description and interpretation of experience. What it aims at is to disclose those who have been covered and to seek the truth from facts where translation happens and the translated texts are accepted.In addition to the four prescriptive characteristics—universality,source-text prescriptiveness,duality and descriptiveness,subjectivity and Incompleteness also fall into the characteristics of creative treason.In this way,all the arguments about creative treason have been limited into a specific field,without the unlimited transmission of meaning of the source text. And what’s the most important,we thinks,receptor environment,as far as subjects we are concerned,is naturally a factor should be thought over.But it doesn’t constitute the content of subjects,but only playing a restricted role in affecting the subjects. Hereby,creative treason will be explained as an inevitable phenomenon in the process of the translation of children’s literature,which is demonstrated in three aspects, that is,three characteristics of children’s literature:amusement,artistic features and aesthetic seeking.In order to reproduce the amusement,artistic features and aesthetic seeking of the source text,Chao Yuenren,when doing translation,brought his creation into full play.What’s more,that certain period—May Fourth has also been considered as the creative treason of receptor environment to observe Chao Yuenren’s translation of Alice’s Adventures in Wonderland.The final conclusion is that creative treason in Chao’s translation is a kind of way to be faithful to the source text in order to achieve the same artistic mood and characteristics of the source text and get the appropriate position in the art realm of children’s literature.更多还原