布迪厄社会学视角的冰心译《印度童话集》研究 [4]
论文作者:www.51lunwen.org论文属性:硕士毕业论文 thesis登出时间:2017-11-29编辑:lgg点击率:6706
论文字数:34759论文编号:org201711241648199641语种:英语 English地区:中国价格:$ 66
关键词:英语文学论文资本惯习《印度童话集》
摘要:本文是英语文学论文,本研究表明,布迪厄社会学视角下的翻译社会学将冰心的《印度童话集》翻译活动置于社会的大背景下进行宏观分析,同时结合社会大环境对译者产生的微观影响对翻译过程进行分析,点面结合,对于冰心《印度童话集》的翻译活动具有很强的解释力。
in a strict sense that thereis no specific literature form for children. According to Wang Quangen (2003, pp.68-73), the reasons for this situation may date back to the following facts in ancientChina: 1) the concept of children’s obedient to their father; 2) social and culturalpsychology of “ancestor worship” and “old man-centered”; 3) the concept of utilitarianeducation ( all a person learns from the beginning is to attend the imperial examination,which can provide people an opportunity to be officials in the court); 4) the core ofChinese literary thought in the ancient times--literature for moral instruction.
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Conclusion
It is said that Bing Xin’s achievement in literary translation is somehow neglected(Zhang, 2007). However, her translation is worthy of reading and researching into. BingXin’s dual status and experience as both a writer and translator of children’s literaturelaid a solid foundation for the popularity of Yindu Tonghuaji in the 1950s. Given that,the
thesis does a close research into the success of Bing Xin’s translation from theperspective of Bourdieusian sociology.Through a detailed sociological analysis of Bing Xin’s translation choice andtranslation strategies, it could be found that Bing Xin’s selection of Indian Fairy Talesas the source text is driven by the time-related literary field, translation field and powerfield. In the 1950s, Power field influenced many other fields like literary field andtranslation field to a great degree because of the task of consolidating new governmentand of opposing blockade from imperialist countries. In the meantime, ideology controlat that time was strict, so in literary field and translation field what Chinese writerslearnt and translate were mostly from socialist countries or the third world countries. Onone hand, Mulk Jay Anand was a great writer in India and his works were introducedinto China most in the 1950s, and children’s literature was in urgent need at that time, soBing Xin’s choice of Indian Fairy Tales to translate was a result from the interaction ofdifferent “fields” at that time. On the other hand, Bing Xin’s social status, that is hersocial capital, as a social activist, imminent translator and writer of children’s literaturegave Bing Xin’s translation of Indian Fairy Tales realistic possibility. In terms of thetranslation methodologies applied in Bing Xin’s Chinese translation Yindu Tonghuaji, itcan be interpreted from Bing Xin’s translation habitus to a large extent. Bing Xinbelieved that translation should be reader-centered. Firstly, target readers’ foreignlanguage proficiency should be taken into consideration. Children’s foreign languageproficiency were not good enough at that time in China, so some introduction of thetheme and content of the translation is necessary and helpful for children’s understanding of the whole text. In addition, code-switching between languages intranslation is not accepted for it interrupts readers’ fluent reading and interest. For thosedifficult words or phrases, Bing Xin adopted the method of annotation. In the meantime,Bing Xin adopts the
methodology of combining both domestication and foreignizationin translating, which can gain readers’ trust one one hand, and introduce the beauty offoreign language and maintain some exotic culture on the other hand. Theseconsiderations and translation habitus are all embodied in Bing Xin’s translation YinduTonghuaji.
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References
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