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摘要:本文以翻译研究学派代表人物Andre Lefevere的翻译改写论为理论基础，探讨了意识形态和诗学对《战争风云》翻译过程操控。
      翻译改写理论提出，翻译是改写文本的一种形式，是创造文本形象的一种形式。一切改写，都反映某种意识形态和诗学。翻译是译者对文本的摆布，使文学以一定的方式在特定的社会里产生作用。Ifu文学系统具备双重操控机制:一个外部机制，在文学与外部环境间保持联系，其中起重要作用的是赞助人(patronage)和意识形态(ideology)，另一个在文学内部发生作用，其关键成分是诗学(poetics)与一组解说不够明确的术语，如“专家”、“专业人士”。译者的意识形态与译本形成时期的主流诗学是决定文学翻译的两个基本因素。意识形态不仅支配着译者翻译的基本策略，Ifu }_规定了译者如何解决与十原文中论域(universe of discourse)和语言相关的问题。Ifu译者，由十受原语文化的翻译诗学的影响，努力使译文迎合新读者以保证译文真正被理解。
    文革的主流意识形态是一种准战争意识形态。毛泽东的哲学和政治意识形态对文革意识形态起到直接影响。毛泽东的《矛屑论》、《实践论》及有关的政治论述直接影响了文革期间以阶级一斗争、革命、共产主义为关键词的政治意识形态。文革的诗学观也受到了毛泽东文艺思想的直接影响。1942年“毛泽东延安文艺座谈会上的讲话”和1966年的《纪要》是影响文革诗学的两个纲领性文件。根据Lefevere的诗学定义，文革的主流诗学可以归纳为一种政治群众诗学，即以“样板戏”为主要文学类型、以“工农兵英雄人物”为原型人物、以反映工农兵的现实生活为主题、以“二突出”作为无产阶级创作原则的阶级的诗学，服务十“工农兵”的政治权威。
     本文通过对源语和目的语意识形态和诗学的分析，从翻译选择和翻译方法两方面分析了中国文革期间的意识形态、诗学对翻译策略的影响。影响《战争风云》文本选择和翻译技巧的意识形态因素包括:战争意识形态、中国传统的和平意识形态、革命的意识形态、政治意识形态、文化意识形态及宗教意识形态。影响《战争风云》文本选择和翻译技巧的诗学因素包括:文革主流文学类型、主题、英雄人物的塑造、叙事方式、诗学的政治功用及人民群众诗学的语言特色。
      文革时期(1966-1976)的文学翻译常常被认为是“百花凋零”的，在翻译史上常常认为是“空白”Ifu被一笔带过。本文在前人有关文革翻译研究的基础上从翻译改写的角度更进一步、更细致的分析了意识形态和诗学对文革文学翻译的操控。美国史诗性战争小说《战争风云》译介反映了文革时期的意识形态和诗学对文学翻译(文本选择和翻译过程)的操控，具有一定的研究价值。
English Abstract:Guided by Lefevere's rewriting theory, this dissertation explores the manipulation ofideology and poetics in the translation of The Winds可War in the CRP.According to Andre Lefevere's translation as rewriting, translation is one form ofrewriting and creating textual image. All rewritings reflect certain ideology and poetics.Translation is translator's manipulation in a text, making literature function in certain societyin a manner. Literary system has got two manipulation mechanisms. One is an exteriormechanism, which links literature with exterior environment, and in which patronage andideology play important roles; the other is interior mechanism, which is made up with poeticsand implicit terms, such as "expert" and "professionals". Translator's ideology and thedominant poetics are two basic elements determining literary translation.ideology manipulates the basic translation strategies and prescribes the wayOn one hand,of settling theproblems linked with universe of discourse and language. On the other hand, translators oftentry to rewrite the original in terms of the poetics of their own culture, simply to make itpleasing to the new audience and, in doing so, to ensure that the translation will actually beread.
     The dominant ideology at the time of the translation of The Winds of War is a quasi-warideology. Mao's ideology in philosophy and politics directly influences the dominantideology in the Cultural Revolution Period. Mao's political treatise On Contradiction andPractice exerts direct influence on the political ideology in the CRP with the key-words suchas class struggle, revolution, Communism and so on. The poetics in the CRP is also under theinfluence of Mao's views on art and literature. Talks on Art and Literature at the YenanForum (1942) and Summary (1966) are two creed featured documents which are greatlyconducive to the poetics in the CRP. According to Lefevere's definition of poetics, thedominant poetics in the CRP (political mass poetics)can be summarized as the following:the acceptable literary types are those modeling the "model operas"(样板戏)with theprototypical characters, namely, "the heroic workers, farmers and soldiers", themes on thereality of本论文由英语论文网提供整理，提供论文代写，英语论文代写，代写论文，代写英语论文，代写留学生论文，代写英文论文，留学生论文代写相关核心关键词搜索。