Creativity Inspired by the Active Processes of Reception in Translation(硕士论文) .doc
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1、翻译中接受过程所激发的创造性Creativity Inspired by the Active Processes of Reception in TranslationCreativity Inspired by the Active Processes of Reception in Translation-From the Perspective of Aesthetics of ReceptionAbstractThis dissertation attempts to further the studies of reception processes in translation
2、studies and based on it prove the necessity of creation by translators. Aesthetics of Reception, presented by Hans Robert Jauss and Wolfgang Iser, causes a revolution in literary criticism and consequently shifts the focus of literary criticism from text to readers. Application of the theory into tr
3、anslation studies brings to our attention the reception processes by translators and target language readers respectively. However, researchers both at home and abroad fail to present us a clear picture of the complete course of reception in translation. Ma Xiao in China figures out two stages of re
4、ception, i.e. translators reception and target language readers reception, and regards them as similar. This dissertation starts with the discussion of differences in reception processes between translators and target language readers, and concludes that the former, required by their responsibility
5、as intermediary in cross-cultural communications, need to fulfill much more complicated reception processes as compared with the latter. Major contributions in this dissertation include: (1) detection of the differences in the reception processes between translators and target language readers; (2)
6、assertion to the necessity of creation by translators in translation; (3) illustration of translators primary responsibilityto bridge different cultures and to produce acceptable translated versions. Literal translation or liberal translation and alienation or domestication have long been the focus
7、of disputation in both translation theory and translation practice. Since these principles concentrate either on the preservation of the originality in source texts or simply on the conveyance of meaning from source texts to target texts, none of them are advocated in this dissertation. Instead, thi
8、s dissertation presents a new guideline for translation: the acceptance of target language readers, requiring the translators efforts in seeking a balance between comprehensibility and foreignness of translated versions. Key words:Aesthetics of Reception; horizon of expectations; reception process;
9、creativityii摘要本文旨在深入分析翻译研究中的接受过程,并基于此证明翻译中译者适当再创造的必要性。姚斯和伊索尔提出的接受美学,给文学评论界带来了一场革命,并最终使文学评论的中心实现了由作品向读者的转变。接受美学理论在翻译研究中的应用引起了研究者对译者与译文读者接受过程的关注。然而,至今国内外的研究者们并未能就翻译中的接受过程给出一个明确的描述。作为国内这一领域研究的佼佼者,马萧提出了翻译中面临的两次接受活动,并认为这两次接受活动大体相似。在认同马萧提出的两次接受活动的基础上,本文首先主要关注这两次接受活动中的不同之处,并得出结论:由于其作为跨文化交际中“中间人”的责任所在,译者须实现
10、的接受过程要远比译文读者复杂。本文主要贡献在于:(1)描述了译者接受过程与译文读者接受过程中的异同; (2) 证实了翻译过程中译者适当再创造的必要性; (3)明确了译者的基本责任传播文明且创造可读性译文。直译或意译和异化或归化一直是翻译研究与翻译实践中学者们争论的焦点之一。 由于这些指导原则或只强调原文特征保存或只强调原文意义传达,在实际翻译过程中都很难达到令人满意的效果,因而本文均未予支持;本文提出了一个新的原则,即译文读者的接受,要求译者在译文的可读性与文化传递性之间求得平衡。关键词: 接受美学;期待视野;接受过程;创造性iiiContentsAcknowledgements.iAbstr
11、actEnglish Version.iiChinese Version. .iiiChapter One Introduction.1Chapter Two Aesthetics of Reception and Its Application in Translation Studies.62.1 The Formation of Aesthetics of Reception and its main theorists 62.2 Reception Theory in China and Its Application.10Chapter Three Processes of Rece
12、ption in Translation. .153.1 Identification of two stages of reception in translation and its limitations.153.2. Translators process of reception.193.2.1 Process of source text selection.193.2.2 Process of interpretation193.2.3 Process of reproduction.223.3 Reception process of TL readers.243.3.1 TL
13、 reader: individual VS community.243.3.2 Reception process of TL readers.27Chapter Four Creativity in Translation.314.1 Purposes in translation.324.2 Differences in cultures.364.3 Translators personal factors. .434.4 Accumulative process of text realization .464.5 Role of translators.51Chapter Five
14、Conclusion .57Bibliography.60ivChapter One IntroductionChapter One IntroductionThis paper originates from Professor Zhou Fangzhus lecture, in which he assigned students the task to explore the process of reception in translation. To fulfill the assignment, the author surveyed all relevant articles a
15、nd works available yet without satisfactory findings. At the same time, much reading conducted by the author on creativity in translation evoked another question: was it necessary for translators to be creative in their work? Support for the necessity of creation in translation from formal studies,
16、as it mostly stems from cultural discrepancy between the two language communities concerned, is exclusive and seems not convincing enough. Then enlightenment from the discussion with Professor Tian Debei (the supervisor) and the book Medio-translatology by Professor Xie Tianzhen on the notion of “cr
17、eative treason” prompt the author to introduce reception theory into the discussion of creativity in translation. Therefore, the author intends this paper to be a new attempt at proving the necessity and inevitability of creation in translation from the perspective of reception theory; and focuses o
18、n two main issues, namely, the elaboration of processes of reception in translation and the exploration on valid evidences for the existence of creation by translators. Aesthetics of Reception, as an approach to literary criticism first presented by Hans Robert Jauss in the 1960s, concerns itself wi
19、th the initiative and creativity of readersfor the first time in literary history readers role in the literary realization is taken into consideration. Jauss, in his Literary History as a Challenge of Literary Theory which was later considered as the declaration of emergence for Aesthetics of Recept
20、ion, attempts to develop a new approach into the literary history by converting history of literature into that of aesthetic experience. Jausss work was later echoed by his colleague Wolfgang Iser who, in 1970, published Indeterminacy and the Readers Response in Prose Fiction”. Though differed in qu
21、ite a few ways, both Jausss and Isers theory shifts the focus of literary criticism from text, the major concern of earlier literary studies, to readers. Readers, in their statements, would play an indispensable role in the final realization of a work, and without whom, a text would be nothing but a
22、 useless collection of words. Since the day of its emergence, Aesthetics of Reception itself, which was later called reception theory collectively, inevitably got “received” from various perspectives by different scholars as whose horizon of expectations diverged a lot from one to another. Even thou
23、gh, several points could still be agreed upon as the basic arguments of the theory. Firstly, the process of reading by readers is taken as an indispensable stage along the whole process of text realization (or concretization). Secondly, the value of certain text and the position a writer deserves in
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