爱尔兰留学生文学翻译与审美体验作业 [2]
论文作者:英语论文论文属性:作业 Assignment登出时间:2014-08-05编辑:yangcheng点击率:8972
论文字数:5122论文编号:org201408050850306501语种:中文 Chinese地区:中国价格:免费论文
关键词:文学翻译审美体验Literary translationaesthetic experience
摘要:散文作为一种重要的文学风格,由古代中国最先开创。散文以及其他的文学样式,反映了民间的生活的每个时代的变化和人们的内心世界。到了20世纪散文达到一个新的高峰,因为深层情感和特殊的社会环境,充满了变化和战争,所以散文大受欢迎。同时,中国人民的优秀的中国文学作品开始逐渐传入西方,汉英翻译进入了高级阶段。众所周知,翻译是源语言文本的意义转换为一个等价的目标语言的过程。不同语言和文化之间传输不同的信息。也许可以说,翻译是一种不同文化之间的鸿沟的沟通。文学自古以来被人们喜欢是因为它有丰富的表达,充满艺术魅力。为了获得渊博的知识,文学翻译映射着读者的审美体验。
fers to that prose can draw the materials extensively, free from the constraints of time and space. And its technique of expression never sticks to one pattern. For example, prose can describe characters and care of lyric to post comments. Meanwhile, the authors can make revisions freely according to contents. United in spirits focuses on the conception, i.e, the theme is clear and concentrated. No matter how extensive the content is or how flexible the expression technique is, they all served as to convey the theme in a better way.
Secondly, the conception is deep. Prose put more emphasis on reproduce the authors’ life experience with a strong and sincere emotion. By using imagination and association, the writers can melt feelings in scenery or a certain thing, thus the authors will achieve the unity of him and the reality. Hence, a more far-reaching idea will appear and lead the readers to a new stage.
Thirdly, prose is gorgeous in consisted and beautiful language, as well as the literary grace. The beauty refers to fresh and bright in language, full of musicality. The concise, means brevity.
3. Translation Aesthetics in Literary Translation
3.1 Previous Achievements of Translation Aesthetics
The research of translation aesthetics has a long history in western countries. John Dryden formulated three basic approaches to the problems of translation: metaphase, paraphrase and imitation (Bassnett, 2008: 64). Alexander Fraser Tyler put forward three basic principles: a) The translation should give an integrated transcription of the idea of the original work; b) The style and manner of writing should be of the same character with that of the original; c) The translation should have all the ease of the original composition.
In China, translation theory starts since the twentieth century and had a blossom since 1980s. For example, Yan Fu’s “three–character guide”, which is, faithfulness, expressiveness and elegance; Lin Yutang’s translation criteria: faithfulness, smoothness and beauty; Xu Yuanchong’s three beauties”: the beauty in sense, in sound and in form (1992) and Jiang Qiuxia’s Image-G-Based Model (2002).
3.2 Essential Elements of Translation Aesthetics
With thousands of years of progress, translation aesthetics today has developed to a comparatively mature state. The task of modern translation aesthetics is to analyze, explain and solve aesthetic problems in the transformation of languages with the help of basic principles of aesthetics. By absorbing the essence of traditional translation theories and modern aesthetics, contemporary translation aesthetics is founded with its own theoretical frame.
3.2.1. Aesthetic Object
Aesthetic object refers to the objective thing involved in aesthetic activities (Liu, 2005). As translation is a bilingual activity, there are two translation aesthetic objects, the source language text and target language text. The former is the fruit formed by the writer, based on his own cognition and feelings. Different from the real world, the first reality, it is the reflection of the objective reality of the real world. Bearing the specific features of the original writer, it can also be called the second reality. While the target language text is the third reality, it is the result of the language transference. It is not a simple copy version in
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