a国产,中文字幕久久波多野结衣AV,欧美粗大猛烈老熟妇,女人av天堂

當前位置:主頁 > 外語論文 > 英語論文 >

《尾數(shù)》翻譯實踐報告

發(fā)布時間:2018-01-19 11:27

  本文關鍵詞: 約翰·福爾斯 《尾數(shù)》 后現(xiàn)代主義 創(chuàng)造性 出處:《揚州大學》2017年碩士論文 論文類型:學位論文


【摘要】:約翰·福爾斯是二戰(zhàn)最重要的小說家之一,也是英國后現(xiàn)代主義的代言人。其創(chuàng)作場景深受哈代、勞倫斯的影響,孕育出了神秘的存在主義,表達出了對藝術自由的追求;其創(chuàng)作主題深受薩特、加繆的影響,小說中的人物在虛幻和真實的社會背景之間來回穿梭;其創(chuàng)作形式深受中世紀羅曼司體裁的影響,模糊了歷史與文學的界限,將兩者并置于相同的虛構地位。因此,其作品對于譯者及目標語讀者而言,在理解上存在著較大難度!段矓(shù)》是約翰·福爾斯篇幅最短、卻最晦澀難懂、最受爭議的一部小說。在作品中,女主人公分別以多變的形象:女醫(yī)生戴爾菲、女朋克手、詩歌女神艾洛朵甚至是日本藝伎的身份呈現(xiàn)于讀者面前。在女主人公幫助邁爾斯恢復記憶力和性功能的過程中,福爾斯利用了不連貫的敘事情節(jié)、分裂的敘事模式來討論文學創(chuàng)作、理解力和感官等一系列問題,這給讀者和譯者都造成了很大的閱讀障礙。另一方面,《尾數(shù)》中福爾斯借助了后現(xiàn)代主義技巧,如不確定性、開放性、互文性,大膽創(chuàng)造出了一個虛擬的時空。雖然給讀者留下了寬廣的想象空間,卻也進一步加大了理解難度。鑒于后現(xiàn)代主義小說的特征,譯者認為“創(chuàng)造性”翻譯原則更適合指導《尾數(shù)》的翻譯實踐,因為它不僅可以更準確地傳達出原文信息,而且在翻譯的過程中,最大限度地保留了后現(xiàn)代主義小說的特點。其次,譯者在翻譯過程中遇到的新問題—粗鄙語、杜撰詞、猜謎式表達、習語、互文性和荒誕性風格等也無法用傳統(tǒng)的翻譯原則和技巧來有效地解決,而“創(chuàng)造性翻譯”原則卻能夠較好的化解。本報告包括四章,第一章介紹翻譯任務,主要包括對作者福爾斯及其作品《尾數(shù)》的分析,以及對《尾數(shù)》中后現(xiàn)代主義小說的特點和“創(chuàng)造性翻譯”原則的介紹。第二章介紹翻譯過程,包括譯前準備,翻譯過程中遇到的困難以及譯稿的校改工作。第三章通過典型例句,討論如何用“創(chuàng)造性翻譯”原則來指導譯者在翻譯后現(xiàn)代主義小說《尾數(shù)》中所遇到的種種難題。第四章總結從該翻譯項目得到的收獲以及仍然存在的局限性,為未來的翻譯實踐活動留下啟示。
[Abstract]:John Fowles was one of the most important novelists in World War II and a spokesman for post-modernism in England, whose creation was deeply influenced by Hardy and Lawrence and gave birth to mysterious existentialism. Express the pursuit of artistic freedom; The theme of his creation is deeply influenced by Sartre and Camus, and the characters in the novel shuttle back and forth between the illusory and the real social background. His writing form was deeply influenced by Roman genre in the Middle Ages, which blurred the boundary between history and literature, and placed both of them in the same fictional position. Therefore, his works are for translators and target language readers. "Mantissa" is the shortest, most obscure, and most controversial novel in John Fowles. In the novel, the heroine is represented by a variety of images: the female doctor Del Fay. The identity of punk hands, poetry goddess Alodo and even a Japanese geisha is presented to the reader. In the heroine's efforts to help Miles restore memory and sexual function, Fowles takes advantage of incoherent narratives. The split narrative mode is used to discuss a series of problems such as literary creation, comprehension and sensuality, which has caused great reading obstacles to both readers and translators. In Mantissa, Fowles makes use of post-modernism techniques, such as uncertainty, openness, intertextuality, and boldly creates a virtual space and time, although it leaves the reader with a wide space for imagination. In view of the characteristics of postmodernist novels, the translator thinks that the "creative" translation principle is more suitable to guide the translation practice of "Mantissa". This is because it not only conveys the original information more accurately, but also preserves the features of postmodernist novels to the maximum extent in the process of translation. Secondly, the translator encounters a new problem in the process of translation-vulgarity. Concoctions, guessing expressions, idioms, intertextuality and absurdity cannot be effectively solved by traditional translation principles and techniques. However, the principle of "creative translation" can be resolved better. This report includes four chapters. The first chapter introduces translation tasks, including the analysis of author Fowles and his works Mantissa. The second chapter introduces the process of translation, including pre-translation preparation, as well as the characteristics of postmodernist novels and the principle of "creative translation" in Mantissa. The difficulties encountered in the process of translation and the revision of the translation. Chapter three uses typical examples. This paper discusses how to use the "creative translation" principle to guide the translator in the translation of postmodernist novel Mantissa. Chapter 4th summarizes the gains from the translation project and the remaining limitations. It will give some enlightenment to the translation practice in the future.
【學位授予單位】:揚州大學
【學位級別】:碩士
【學位授予年份】:2017
【分類號】:H315.9

【參考文獻】

相關期刊論文 前2條

1 施曉盛;;論宗教文化對英漢翻譯的影響及其對策[J];寧波教育學院學報;2009年03期

2 羅婷;論克里斯多娃的互文性理論[J];國外文學;2001年04期



本文編號:1443979

資料下載
論文發(fā)表

本文鏈接:http://www.wukwdryxk.cn/waiyulunwen/yingyulunwen/1443979.html


Copyright(c)文論論文網All Rights Reserved | 網站地圖 |

版權申明:資料由用戶d0aa0***提供,本站僅收錄摘要或目錄,作者需要刪除請E-mail郵箱bigeng88@qq.com
亚洲午夜久久久久妓女影院| 无职转生第一季完整在线观看高清 | 欧美xxx| 久久久久亚洲AV综合波多野结衣| 色欲人妻AAAAAA无码| 精品视频在线观看免费观看 | 国产精品无码翘臀在线看| 夂久精品国产久精国产| mm1313亚洲国产精品无码试看| 亚洲成AV人片无码不卡| 真实国产乱子伦视频| 成人免费区一区二区三区| 精品欧美一区二区久久久伦| 成人免费在线播放| 色呦呦国产| 三年片在线观看免费观看大全 | gogo少妇无码肉肉视频| 欧美国产日产一区二区| 亚洲AV成人无码久久WWW| 欧美日韩亚洲tv不卡久久| 四虎av| 香蕉av| 人人入人人爱| 波多野成人无码精品电影| 精品免费看国产一区二区| 天天影视涩香欲综合网迷情校园| 无码精品不卡一区二区三区| 人妻丰满熟妇Aⅴ无码| 波多野结衣一区二区三区高清AV| 国产成人精品免费午夜app| 国产一区二区在线影院| 高潮喷水在线观看免费| 日韩精品区一区二区三vr| 伊人久久大香线蕉AV一区二区| 亚洲日韩∨A无码中文字幕| av片亚洲国产男人的天堂| 久久精品国产乱子伦| 亚洲国产精品久久久久久久| А√天堂BT中文在线| 亚洲国产中文在线二区三区免| 欧美成人一区二区三区在线视频|