从阐释学视角看《名利场》两种译本的译者主体性硕士学位论文.doc

学校代码：10254密 级：论文编号： 上海海事大学SHANGHAI MARITIME UNIVERSITY硕 士 学 位 论 文MASTER DISSERTATION论文题目： 从阐释学视角看 名利场两种译本的译者主体性 学科专业： 外国语言学及应用语言学 作者姓名：指导教师：完成日期：论文独创性声明本论文是我个人在导师指导下进行的研究工作及取得的研究成果。论文中除了特别加以标注和致谢的地方外，不包含其他人或其他机构已经发表或撰写过的研究成果。其他同志对本研究的启发和所做的贡献均己在论文中做了明确的声明并表示了谢意。矚慫润厲钐瘗睞枥庑赖。 作者签名： 日期： 论文使用授权声明本人同意上海海事大学有关保留、使用学位论文的规定，即：学校有权送交论文复印件，允许论文被查阅和借阅；学校可以上网公布论文的全部内容或部分内容，可以采用影印、缩印或其他手段保存论文。保密的论文在解密后遵守此规定。聞創沟燴鐺險爱氇谴净。作者签名： 导师签名： 日期： A Discussion on Translators Subjectivity from the Perspective of Hermeneutics残骛楼諍锩瀨濟溆塹籟。Based on Two Chinese Versions of Vanity FairBy Zhang JunUnder the Supervision ofProfessor Han ZhonghuaA Thesis Submitted to the College of Foreign Languages of酽锕极額閉镇桧猪訣锥。Shanghai Maritime Universityin Partial Fulfillment ofthe Requirements for the MA DegreeShanghai Maritime UniversityMay, 2010AcknowledgementsAt the moment when I complete the thesis, I can not help expressing my deep and great appreciation for those who helped me and gave me kind instructions on conceiving this thesis.彈贸摄尔霁毙攬砖卤庑。First and foremost, I owe a great deal to Professor Han Zhonghua, my supervisor, for his patient tutorship, invaluable suggestions and guidance. It is quite fair for me to say that this thesis can never be achieved without his generous support and professional comments. I am extremely grateful not only for his inspiring encouragement but also for his objective criticism, which helped me a lot in improving this thesis. During the process of working on this thesis, I was once again deeply impressed by his earnest academic attitude, incisive viewpoints as well as his inexhaustible enthusiasm in academic study, which set a model for my future research.謀荞抟箧飆鐸怼类蒋薔。I also want to express special thankfulness to Professor Wang Dawei, Professor Zheng Lixin, Professor Weng Fengxiang and many other distinguished scholars in my university, for their instructional lectures, the influence of which will be felt all my life.厦礴恳蹒骈時盡继價骚。Last but not least, it is necessary for me to express my sincere gratitude to my parents, some of my relatives, my classmates, and my friends. I thank them from bottom of my heart for their understanding and permanent support throughout my academic study. 茕桢广鳓鯡选块网羈泪。毕业设计（论文）原创性声明和使用授权说明原创性声明本人郑重承诺：所呈交的毕业设计（论文），是我个人在指导教师的指导下进行的研究工作及取得的成果。尽我所知，除文中特别加以标注和致谢的地方外，不包含其他人或组织已经发表或公布过的研究成果，也不包含我为获得 及其它教育机构的学位或学历而使用过的材料。对本研究提供过帮助和做出过贡献的个人或集体，均已在文中作了明确的说明并表示了谢意。鹅娅尽損鹌惨歷茏鴛賴。作 者 签 名： 日 期： 指导教师签名： 日期： 使用授权说明本人完全了解 大学关于收集、保存、使用毕业设计（论文）的规定，即：按照学校要求提交毕业设计（论文）的印刷本和电子版本；学校有权保存毕业设计（论文）的印刷本和电子版，并提供目录检索与阅览服务；学校可以采用影印、缩印、数字化或其它复制手段保存论文；在不以赢利为目的前提下，学校可以公布论文的部分或全部内容。籟丛妈羥为贍偾蛏练淨。作者签名： 日 期： 学位论文原创性声明本人郑重声明：所呈交的论文是本人在导师的指导下独立进行研究所取得的研究成果。除了文中特别加以标注引用的内容外，本论文不包含任何其他个人或集体已经发表或撰写的成果作品。对本文的研究做出重要贡献的个人和集体，均已在文中以明确方式标明。本人完全意识到本声明的法律后果由本人承担。預頌圣鉉儐歲龈讶骅籴。作者签名： 日期： 年 月 日学位论文版权使用授权书本学位论文作者完全了解学校有关保留、使用学位论文的规定，同意学校保留并向国家有关部门或机构送交论文的复印件和电子版，允许论文被查阅和借阅。本人授权 大学可以将本学位论文的全部或部分内容编入有关数据库进行检索，可以采用影印、缩印或扫描等复制手段保存和汇编本学位论文。渗釤呛俨匀谔鱉调硯錦。涉密论文按学校规定处理。作者签名：日期： 年 月 日导师签名： 日期： 年 月 日指导教师评阅书指导教师评价：一、撰写（设计）过程1、学生在论文（设计）过程中的治学态度、工作精神 优 良 中 及格 不及格2、学生掌握专业知识、技能的扎实程度 优 良 中 及格 不及格3、学生综合运用所学知识和专业技能分析和解决问题的能力 优 良 中 及格 不及格4、研究方法的科学性；技术线路的可行性；设计方案的合理性 优 良 中 及格 不及格5、完成毕业论文（设计）期间的出勤情况 优 良 中 及格 不及格二、论文（设计）质量1、论文（设计）的整体结构是否符合撰写规范？ 优 良 中 及格 不及格2、是否完成指定的论文（设计）任务（包括装订及附件）？ 优 良 中 及格 不及格三、论文（设计）水平1、论文（设计）的理论意义或对解决实际问题的指导意义 优 良 中 及格 不及格2、论文的观念是否有新意？设计是否有创意？ 优 良 中 及格 不及格3、论文（设计说明书）所体现的整体水平 优 良 中 及格 不及格建议成绩： 优 良 中 及格 不及格（在所选等级前的内画“”）指导教师： （签名） 单位： （盖章）年 月 日评阅教师评阅书评阅教师评价：一、论文（设计）质量1、论文（设计）的整体结构是否符合撰写规范？ 优 良 中 及格 不及格2、是否完成指定的论文（设计）任务（包括装订及附件）？ 优 良 中 及格 不及格二、论文（设计）水平1、论文（设计）的理论意义或对解决实际问题的指导意义 优 良 中 及格 不及格2、论文的观念是否有新意？设计是否有创意？ 优 良 中 及格 不及格3、论文（设计说明书）所体现的整体水平 优 良 中 及格 不及格建议成绩： 优 良 中 及格 不及格（在所选等级前的内画“”）评阅教师： （签名） 单位： （盖章）年 月 日教研室（或答辩小组）及教学系意见教研室（或答辩小组）评价：一、答辩过程1、毕业论文（设计）的基本要点和见解的叙述情况 优 良 中 及格 不及格2、对答辩问题的反应、理解、表达情况 优 良 中 及格 不及格3、学生答辩过程中的精神状态 优 良 中 及格 不及格二、论文（设计）质量1、论文（设计）的整体结构是否符合撰写规范？ 优 良 中 及格 不及格2、是否完成指定的论文（设计）任务（包括装订及附件）？ 优 良 中 及格 不及格三、论文（设计）水平1、论文（设计）的理论意义或对解决实际问题的指导意义 优 良 中 及格 不及格2、论文的观念是否有新意？设计是否有创意？ 优 良 中 及格 不及格3、论文（设计说明书）所体现的整体水平 优 良 中 及格 不及格评定成绩： 优 良 中 及格 不及格（在所选等级前的内画“”）教研室主任（或答辩小组组长）： （签名）年 月 日教学系意见：系主任： （签名）年 月 日摘 要名利场是十九世纪英国批判现实主义作家萨克雷(William Makepeace Thackeray 1811-1863)的成名之作，“也是他生平著作里最经得起时间考验的杰作”(杨绛, 1997)。在名利场的诸多中译本中，女翻译家杨必的译本一向深受读者青睐，也是难得看到的佳译。事隔多年后，湖南师范大学彭长江教授面临着更多、更大的困难重译了名利场，但其措辞及语言风格方面都与“杨译”大不相同。铙誅卧泻噦圣骋贶頂廡。随着名利场中译本的不断增多，对不同译本的品评文章也源源不断。然而，评论者多集中于语言层面的分析，从文化空缺或“归化、异化”上入手，但从译者及其译者主体性角度出发的研究至今仍较少见。译者的主体性在翻译史上经历了一个由朦胧到凸显的过程。20世纪70年代以来，西方翻译理论出现了“文化转向”，运用后结构主义理论对文本的意义进行阐述。译者的主体性及其在翻译过程中所起的主体性作用逐渐受到西方翻译理论界的广泛关注，我国对译者主体性的研究也在日益加深。译者主体性在国内外已得到了应有的重视。擁締凤袜备訊顎轮烂蔷。阐释学 （Hermeneutics） 是 20 世纪 60 年代后盛行于西方的哲学和文化思潮。任何翻译都由理解开始，阐释学理论正是基于对意义的理解与阐释的一门学科。翻译阐释学派强调翻译和理解之间密不可分的关系，对理解的作用和方式进行不同的阐释。翻译活动也从传统的原作者“独白”和无限度的读者阐释，走向了原作者、文本译者、译文与译文读者之间的积极对话。在翻译的过程中，译者处于整个对话活动的中心位置, 扮演着读者和译文作者的双重角色。阐释学视角给翻译研究注入了新的活力，带来了新的研究视角。贓熱俣阃歲匱阊邺镓騷。鉴于译者的主体地位在当今文化语境下已得到越来越多的关注，本文拟运用阐释学相关理论，重新审视和研究译者的主体性作用。本文拟以翻译阐释学理论为基础，以萨克雷的名作名利场的两个权威中文译本为语料，运用斯坦纳的“翻译的四步骤”，伽达默尔的“偏见”、“视域融合”等阐释学基本观点，通过实证分析，对萨克雷的名利场的两个中文译本进行对比研究，藉以考察译者主体性在文学翻译过程中的表现。 坛摶乡囂忏蒌鍥铃氈淚。本文共分五章。第一章对萨克雷，其名著名利场及名利场的两个权威版的中译本做简要的介绍。第二章对“译者主体性”问题和“阐释学”理论及蜡變黲癟報伥铉锚鈰赘。相关的研究现状进行较为详细的介绍和说明，阐明什么是“译者主体性”、“阐释学”经历了怎样的发展行程，以及它是如何与“译者主体性”相结合的。第三章和第四章是本文的重点。这两章以名利场的两个不同中文译本为案例，以从中所选取的大量文本实例为实证，运用阐释学的核心理论对“译者主体性”进行深入和充分的讨论。其中，第三章以乔治斯坦纳的“翻译四步骤”理论为依据，对名利场的两中译本的译者主体性的发挥进行对比分析与关照，即译者在经历 “信赖”、“侵入”、“吸收”和“补偿”这四个翻译步骤的过程中所体现出的译者主体性。第四章，根据伽达默尔的“视域融合”理论，从译本本身的不同特征，如译者的翻译策略、语言风格、艺术标准及文化传真度等，探讨名利场两中译本的译者主体性。第五章为结论，即：在阐释学理论的视域下，翻译过程应当理解为译者能动的阐释原文的过程，译者主体性的发挥具有其合法性和一定的局限性。買鲷鴯譖昙膚遙闫撷凄。传统译论中有关译者的理论很难指导译者在翻译实践中充分调动自己的主体性，而结合阐释学相关理论对译者主体性及其实际作用进行研究，则能够较好地解决这个问题。本文以阐释学理论与传统翻译理论相结合作为立论基础，旨在能从阐释学角度出发，为名利场的两个权威中文译本的译者主体性的解读，提供一个较新的视角。笔者希望本文能具有一定的理论意义，并能为文学翻译研究和翻译实践提供一点儿切实可行的参考。綾镝鯛駕櫬鹕踪韦辚糴。关键词：名利场; 译者主体性; 阐释学; 翻译四步骤; 视域融合 ABSTRACTWilliam Makepeace Thackeray, one of the greatest critical realist writers of England in the 19th century, reached his peak of popularity with the publication of his masterpiece Vanity Fair. It is “his most famous work in his literary career, which can certainly stand the test of time,” claimed Yang Jiang in 1997. Among the Chinese versions of Vanity Fair, the most widely acclaimed one is translated by Yang Bi, a well-known female scholar in China, and her version, regarded as the most authoritative one, has enjoyed great popularity among the Chinese readers ever since its publication. Confronted with more challenging difficulties though, Professor Peng Changjiang from Hunan Normal University re-translated the novel a few decades later, making innovations in terms of linguistic performances, rhetorical properties, and so on.驅踬髏彦浃绥譎饴憂锦。As the number of the Chinese versions of Vanity Fair grows, articles commenting on different translations accordingly are coming forth endlessly. However, most of the comments and researches concerned are focused on the level of linguistic aspects, on “foreignization or domestication”，or on the basis of the cultural gap. It is still rare to see discussions and researches on comparison between the different versions from the perspective of translators functions or translators subjectivity. As we all know, the development of the theory of translators subjectivity underwent various stages from being obscure to its being on the foreground of today. Since 1970s, translation theories in the western world began to take a “Cultural Turn”. There has been a tendency of applying post-structuralism to the interpretation of texts. As a result, the theory of translators subjectivity and its leading role in the process of translating has aroused great concern among the translation theorists. Scholars in China have also paid increasing attention to this theory. At present translators subjectivity as a translation theory has achieved its deserving stature.猫虿驢绘燈鮒诛髅貺庑。Hermeneutics as a philosophical and cultural ideology was prevalent in the West in the late 1960s. Since any translation begins with the understanding, Hermeneutics is exactly such a branch of learning that is established on the basis of understanding and hermeneutical exegesis and interpretation of the textual and contextual meanings of the texts in question. Hermeneutics, as viewed from the aspect of the translation theory, emphasizes that there is an inseparable relationship between translation and comprehension. It illustrates the how and the why understanding and interpretation occurs from quite a different perspective. Thus the perception of the translating process begins to change from the writers own monologue and the targeted readers infinitive interpretation to an active dialogue between the original writer, the translator, the translation and the reader. In the light of the hermeneutical view, the translator becomes the interlocutor playing the double-role as both the reader of the source language text and the writer of the target language text. Hermeneutics, to some extent, has injected new vitality into the study of translation theories from a brand new perspective.锹籁饗迳琐筆襖鸥娅薔。In view of the situation in which more and more emphases are placed on translators subjectivity, this thesis aims at conducting a re-investigation into the theory of translators subjectivity from the perspective of Hermeneutics. By way of applying some core concepts of Hermeneutics, such as George Steiners “Fourfold Hermeneutic Translation Motion Theory”, and Gadamers Hermeneutic theories, including his theories of “Fusion of Horizons”, “Prejudice”, “Fore-Understanding”, and through the adoption of large quantities of factual instances taken from the two authoritative Chinese versions of William Makepeace Thackerays masterpiece Vanity Fair chosen for the intended comparative study, the author of this thesis aims to carry out a tentative analysis on translators subjectivity in the act of translating literary works.構氽頑黉碩饨荠龈话骛。The whole thesis consists of four chapters. Chapter One is a brief introduction to Vanity Fair，its original writer William Makepeace Thackeray, as well as to the two translators and their translations. Chapter Two serves as the theoretical frame offering a detailed study of relevant theories of translators subjectivity and Hermeneutics. It involves the histories of the two theories and how Hermeneutics is applied to the study of translators subjectivity. Chapters Three and Four function as the core part of the thesis, aiming at carrying out ample and in-depth analyses on a great wealth of examples taken from the two Chinese translation versions being discussed from hermeneutical perspective. Chapter Three deals with the comparison between the two Chinese versions with a view to bringing forth translators subjectivity by applying George Steiners Fourfold Hermeneutic Translation Motion Theory, which explores into translators subjectivity embodied in the whole translation process that comprises the four necessary steps, namely “trust”, “aggression”, “incorporation” and “compensation”. Chapter Four brings forth the presentation of translators subjectivity as displayed in the two Chinese versions from different aspects on the basis of Gadamers “Fusion of Horizons” Theory, which concerns translators strategy and approaches, their linguistic performance, artistic style and the degree of fidelity in cultural transmission. A conclusion is drawn at the end of the thesis, that is, translation, from the perspective of Hermeneutics, should be viewed as an active understanding and interpretation of the actual meaning of the original writing. Translators subjectivity in the act of translation is legitimate although there are certain limitations.輒峄陽檉簖疖網儂號泶。The traditional theory of translation can hardly activate the subjectivity of the translator into full play in their translating practice; nevertheless, when combined with the relevant theories of Hermeneutics, we may have ways to solve the problem. The aim of this thesis is to provide some new approaches to the understanding of the mechanism and the legitimate position of translators subjectivity as displayed in the two authoritative Chinese versions of the classical work of Vanity Fair on the basis of the theory of Hermeneutics. It is the proper writers hope that this thesis can be of certain theoretical value with its supply of the reliable and pragmatic reference to the study and practice of translating literary works.尧侧閆繭絳闕绚勵蜆贅。KEYWORDS: Vanity Fair, translators subjectivity, Hermeneutics, Fourfold Hermeneutic Translation Motion, Fusion of Horizons识饒鎂錕缢灩筧嚌俨淒。VIICONTENTSPreface1Chapter Introduction41.1 An Introduction to Vanity Fair and its two Selected Chinese Versions4凍鈹鋨劳臘锴痫婦胫籴。1.1.1 A Summary of the NovelVanity Fair41.1.2 The two Complete Chinese Versions and Their Translators5恥諤銪灭萦欢煬鞏鹜錦。1.1.2.1 Yang Bis Translated Version of Vanity Fair5鯊腎鑰诎褳鉀沩懼統庫。1.1.2.2 Peng Changjiangs Translated Version of Vanity Fair7硕癘鄴颃诌攆檸攜驤蔹。1.2 Research Methodology81.3 Research Significance81.4 Layout of the Thesis9Chapter Hermeneutics and Translators Subjectivity10阌擻輳嬪諫迁择楨秘騖。2.1 Hermeneutics102.1.1 Origin and Development of Hermeneutics102.1.1.1 Origin of Hermeneutics102.1.1.2 Development of Hermeneutics112.1.2 Some Core Concepts of Modern Hermeneutics122.2 Subjectivity of Translator132.2.1 Definition of Translators Subjectivity132.2.2 Subjectivity of Translator from Invisibility to Visibility14氬嚕躑竄贸恳彈瀘颔澩。2.2.3 Distinction Between Translators Subjectivity and Translation Subjectivity.16釷鹆資贏車贖孙滅獅赘。2.3 Enlightenment from Hermeneutics on Translators Subjectivity17怂阐譜鯪迳導嘯畫長凉。2.3.1 Validity of Translators Subjectivity from the perspective of Hermeneutics17谚辞調担鈧谄动禪泻類。2.3.1.1 George Steiners Fourfold Hermeneutic Translation Motion Theory and its Theoretical Support to the Validity of Translators Subjectivity17嘰觐詿缧铴嗫偽純铪锩。2.3.1.2 Gadamers Hermeneutic Theory, Including His Theories of “Fusion of Horizons”, “Prejudice”, “Fore-Understanding”, and Their Support to the Validity of Translators Subjectivity20熒绐譏钲鏌觶鷹緇機库。2.3.2 Avoidance of Excessive “Prejudice” Limitation of Translators Subjectivity22鶼渍螻偉阅劍鲰腎邏蘞。Chapter A Comparative Study of Translators Subjectivity Based on the Two Chinese Versions of Vanity Fairfrom the Perspective of “Fourfold Hermeneutic Translation Motion Theory”24纣忧蔣氳頑莶驅藥悯骛。3.1 Translators Trust253.1.1 Translators Cultural Background253.1.2 Translators Translation Motive273.2 Translators Aggression293.2.1 Translators Aggression in Different Personality29颖刍莖蛺饽亿顿裊赔泷。3.2.2 Translators Aggression as Different Gender31濫驂膽閉驟羥闈詔寢賻。3.2.3 Translators Understanding and Judgment of the Source Text34銚銻縵哜鳗鸿锓謎諏涼。3.3 Translators Incorporation353.3.1 Linguistic Absorption of the Style in the Original Work35挤貼綬电麥结鈺贖哓类。3.3.2 Aesthetic Acceptance of the Original Work373.3.3 Absorption of Cultural Consciousness of the Original Work39赔荊紳谘侖驟辽輩袜錈。3.4 Translators Compensation/Restitution403.4.1 Discrepancy Between Different Cultures and Losses in Translation40塤礙籟馐决穩賽釙冊庫。3.4.2 Compensation by Choice of Words423.4.3 Compensation by Sentence Rearrangement433.4.4 Re-creation of Image of the Characters and Preservation of Figures of Speech46裊樣祕廬廂颤谚鍘羋蔺。Chapter Presentation of Translators Subjectivity Based on the Two Chinese Versions of Vanity Fairfrom the Perspective of Gadamers Theory of “Fusion of Horizons”51仓嫗盤紲嘱珑詁鍬齊驁。4.1 Translators Strategy and Approaches524.2 Fusion of Language Style584.3 Degree of Fidelity in Cultural Transmission63Conclusion69Bibliography72PrefaceIn the development of translation studies, translators subjectivity has undergone such a process of change from that of being invisible to that of being widely cognizant. It was not so conspicuous among the whole academic circle until the 1970s when the “Cultural Turn” came into being. From that time on, translators subjectivity has been given increasing attention on the part of both the translation theorists and translation practitioners.绽萬璉轆娛閬蛏鬮绾瀧。Vanity Fair, the renowned novel written by William Makepeace Thackeray, has made a name for itself since its publication. As one of the greatest critical realist writers of the 19th century in England, William Makepeace Thackeray drained his ironic power to describe all sorts of characters in the novel such as the sharp Bechy Sharp, the amiable Amelia, etc. The sarcastic tone, the incisive expression together with the humorous style distinguished this classic from its contemporary works, which has vividly depicted all forms of u