Reproduction of Style in Literary Translation毕业论文_英语毕业论文

Reproduction of Style in Literary Translation毕业论文

2021-04-02更新

摘 要

风格翻译一直是文学翻译的焦点,存在可译与否及如何再现原作文学风格等争论。本文以《围城》的英译本为研究对象,探讨文学风格的再现问题。

首先,本文从文学作品风格的构成出发,研究文学翻译如何从语言、艺术手法、思想内容三方面再现原作风格。文学作品是语言、艺术手法以及思想内容的结合体,作品的风格应体现在作品构成的各要素中,即风格应该包括语言风格、艺术风格和思想风格。再现原作的语言风格应该从原作的措词、句法和修辞三方面出发,在目的语中找到与源语一致的表达法;再现原作的艺术风格应该在翻译的过程中注意直译与意译的区别;再现原作的思想风格,译者应充分了解原作中所渗透的思想感情,以及所描述的社会场景,并使其在译文中得到忠实的再现和传达。

本文将钱钟书的《围城》及其英译本Fortress Besieged 进行对比研究,分析和总结了风格再现在文学翻译中的重要性,促使文学翻译者在实践中提高对文体风格的敏感性和洞察力,对影响文体风格的各种复杂因素具有清醒的认识并予以克服,从而最大限度地传译原作的文体风格,再现原作的美学艺术价值。

关键词:文学翻译;风格再现;语言风格;艺术风格;思想风格;《围城》

Contents

  1. Introduction………………………………………………………………………1

1.1. Style of literary works………………………………………………………………………………3

1.2. Ch’ien Chung-shu and Fortress Besieged……………………………………………………4

2. Demonstration…………………………………………………………………….4

2.1.Reproduction of linguistic style………………………………………………………………….5

2.1.1.Reproduction of lexical style…………………………………………………………………..6

2.1.2.Reproduction of syntactic style………………………………………………………………..7

2.1.3.Reproduction of rhetorical style……………………………………………………………….9

2.2.Reproduction of artistic style……………………………………………………………………..9

2.2.1.Literal translation…………………………………………………………………………………10

2.2.2.Free translation…………………………………………………………………………………….12

2.3.Reproduction of ideological style……………………………………………………………..12

2.3.1.Reproduction of spirit and emotion…………………………………………………………14

2.3.2.Reproduction of scenery and social reality……………………………………………….16

3.Conclusion………………………………………………………………………………………………..17

Bibliography…………………………………………………………………………19

Reproduction of Style in Literary Translation

—— A Case Study of Translation of Fortress Besieged

  1. Introduction

1.1. Style of literary works

Reproducing the style of a literary work is one of the controversial issues in the field of translation. There has been a large body of works debating about the definition of style, about the translatability of literary style, about the necessity of keeping the original style, about the difficulty of translating literary style, and about the relationship between the original style and that of the translator. What is the standard by which to tell a style? What is style on earth? And where does it come from? There has been long-standing controversy over these questions. In fact, the study of style can be traced back to the time of ancient Greece. However, according to many scholars today, literary style is still an ambiguous term, which can be defined in many ways.

Style is the marker of a good work. Representatives of this view are French writer Voltaire and German writer Johann Wolfgang von Goethe. To Voltaire, without style there is no possibility of a single good work in any form of eloquence or poetry. And Goethe regards style as the highest stage that art can reach, the stage where art may claim to rival the loftiest of human endeavors. (Xu Lisheng, 2006:2) This definition of style, though recognizing style as an indispensable component of a good literary work, has been proved to be too absolute and parochial, which excludes a great number of literary works from the research on style. In fact, style is an essential element in all literary works.

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