【作者】 崔鑫；

【导师】 范志慧；

【作者基本信息】 河北大学 ， 英语语言文学， 2007， 硕士

【摘要】 本文关注美国华裔文学作品《喜福会》中文翻译中译者主体性的体现。译者主体性经历了从忽视到逐步重视的过程。译者从“忠实”到体现“主体性”的这一地位转变为文学翻译评论提供了全新视角。20世纪80年代末90年代初,美国华裔文学逐渐得到了中美两国学术界的广泛关注,由于其作品涉及的主题以及此类作品的作者所具有的特殊生活背景,读者在阅读此类译著的过程中,不仅体会到了不同民族之间、文化之间存在的人类相通的共性,也通过华裔作家的笔触感受到了中美文化和价值观的冲突与交融。因此,美国华裔文学的翻译在一定程度上也是文化翻译。作为文学翻译中连接原作与译作、原作作者与译作读者的译者在这种文化翻译中的主体性不可避免。《喜福会》是华裔作家谭恩美的代表作品,讲述了四位中国移民母亲与她们在美国出生的女儿从误解、冲突到理解的故事,作品通过母女的冲突折射了中美文化的冲突。小说在1989年出版之时在美国获得巨大成功。在中国内地,1992年春风文艺出版社出版了田青翻译的《喜福会》,2006年上海译文出版社邀请作家程乃珊翻译出版了最新版本的《喜福会》。本文通过对1992、2006年两个译本的对比研究,援引大量译例,从翻译方法层面、文化还原层面、翻译策略层面分析《喜福会》翻译中译者主体性的体现。具体包含标题翻译,人名翻译,拼音内容的翻译,对话内容的翻译,中国文化内容的翻译、增译、减译、改译等内容。并对两个译本中的误译进行分析,强调文学翻译中译者主体性和忠实性的统一是译者不可回避的问题,译者主体性的客观存在和忠实的标准并不矛盾,译者主体性的发挥首先应受到原作的限制。同时,呼吁翻译批评界对体现译者主体性的译本、译例进行客观评判,并期待更多、更好的美国华裔文学作品的翻译、复译。更多还原

【Abstract】 The paper focuses on the translator’s subjectivity in the Chinese translations of The Joy Luck Club. The translator’s subjectivity experienced a process of being neglected and now has been recognized. The transitional status of the translator, from being a faithful translator to showing subjectivity, provides a new perspective to literature translation review. In the last years of 1980s and the first years of 1990s, Chinese American Literature has come to its blossom. And then researches on this field have been attracting scholars from America and China as well. Due to the unique themes and the authors’special position of Chinese American Literature, readers not only feel the similarity between two nations and cultures but also sense the conflict and communication between American values and Chinese ones. Translation of Chinese American Literature is a certain cultural translation in some degree. While the translators of literary works, the only link between the original works and the translated works, between the writer and the readers, show their subjectivity inevitably.The Joy Luck Club, a representative work of Amy Tan, describes the conflicts, misunderstanding and understanding among four immigrant mothers and their America-born daughters. Conflicts among mothers and daughters reflect conflicts between American culture and Chinese culture. The exotic descriptions of mothers’early life in China and life style of Chinese Americans contribute to the extraordinary success of The Joy Luck Club in 1989. In the China’s mainland, Chunfeng Art Press published the Chinese version of The Joy Luck Club translated by Tian Qing in 1992. In 2006, the writer Cheng Naishan was invited by Shanghai Yiwen Press to publish the newest version of The Joy Luck Club.The paper intends to do a comparative research on the two versions of The Joy Luck Club and dig out typical examples to illustrate the translator’s subjectivity. The research will be carried out on the aspects of translation methods, restoration of culture and translation strategy. And different translations of subtitles, names, pinyin, dialogue, Chinese culture, edited translation, abridged translation and adapted translation as well as the errors made by the translators are included, by which, the balance of the translator’s subjectivity and fidelity based on the original works is emphasized in literary translation. The translator’s subjectivity doesn’t conflict with fidelity of the source language, while subjectivity should function with the source language as the first constraint. At last, the paper appeals to more objective criticism of the literary works with the translator’s subjectivity involved in it, and expects better and more translations of Chinese American Literature works.更多还原