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文学作品中内容的可译性多年来一直被学术界激烈探讨,经过无数的讨论,译者们普遍认为,由于不同语言以及文化中的诸多差异,语言中确实有“不可译”现象的存在。但是此处的“不可译”又是相对的,在“再创造”之后的彼处或许“可译”。在改写理论视角下,翻译创作是译者在诗学观、社会意识形态等内因的操控下,综合外因的干预作用,对原著进行“再创造”。“再创造”原著,使得“不可译”的文化能够被传播,被读者了解,改写理论功不可没。以译者赛珍珠女士的《水浒传》译作中的水浒英雄诨名翻译为研究对象,阐释改写理论如何把不可译的诨名再创造,从而使优秀典籍得以成功传播。
The translatability of the content in literary works has been heatedly explored by the academic circles for many years. After numerous discussions, the translators generally believe that because of the differences in different languages and cultures, there is indeed a phenomenon of “non-translatability” in the language exist. But here “untranslatable ” is relative, after “re-create” or perhaps “translatable ”. From the perspective of rewriting theory, under the control of internal factors such as poetics and social ideology, the translator creates the “re-creation” of the original by integrating the intervention of external factors. “Re-create ” the original, making the “untranslatable ” culture can be spread, the reader understands, rewrite the theory contributed. The translation of Heroes of the Water Margin in The Translation of the Water Margin by Translator Pearl S. Buck was taken as the research object to explain how the theory of rewriting can recreate the non-translatable name so that the excellent classics can be successfully disseminated.