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作为二十世纪五十年代被译介到中国特殊语境下的文学作品,爱尔兰女作家艾丽·伏尼契的长篇小说《牛虻》在中国产生了巨大的影响。然而,通过对中英文本的细读,发现中文首译本对原著的删节有六十多处。在中国特定语境下,有着资产阶级革命者背景的牛虻获得了新生,鼓舞了一代又一代的热血青年投入到社会主义建设的大潮中去。源于此,《牛虻》成为中国语境下的外国文学经典文学作品之一。本文所要探讨的就是牛虻这一人物形象在经过翻译实践后,是怎样在中国语境中变成一个理想的“高、大、全”的中国式的英雄形象的。
As a literary work translated into the special context of China in the 1950s, the Irish writer Noe Voynitch’s novel “Gadfly” has had a huge impact in China. However, through the careful reading of the Chinese and English versions, it was found that there were over 60 abridged aborigines in the first Chinese translation. In the specific context of China, the beggar with the bourgeois revolutionist background has gained a new lease of life, inspiring generations of passionate young people to devote themselves into the tide of socialist construction. From this, “Gadfly” became one of the literary works of foreign literature under the Chinese context. What this article intends to explore is how the image of the bullfight becomes a Chinese heroic figure of “high, big and all” in Chinese context after translation practice.