【作者】 王鹏；

【导师】 边立红；

【作者基本信息】 长沙理工大学 ， 外国语言学及应用语言学， 2011， 硕士

【摘要】 20世纪60年代末接受美学的产生曾在西方文艺理论界激起巨大的反响。该理论以现象学美学和阐释美学为基础,以读者和作者的关系作为研究主体,从而把当代文学批评理论的重点从作者、文本转向读者。接受美学认为文学作品具有开放性和不确定性,这些不确定性具体表现为文本空白,读者在召唤结构下,运用其想象力去填充,以实现作品潜在的审美价值。20世纪80年代随着接受美学的引入,国内学者迅速展开深入的研究与探讨。朱立元在其《接受美学导论》一书中,曾对接受美学做过阐释与研究,对接受美学存在的局限性也进行了修正和扩充,并提出接受美学的六种批评模式。本文根据伊塞尔的理论和朱立元的修正意见,结合林纾所译《黑奴吁天录》,从语音、语调、语义层、意象层和心理等多层次语言结构系统来探讨不确定性在文学翻译中的理解过程和审美再现。林纾的翻译曾在中国产生了巨大的社会影响力,引导一大批现代作家和翻译家走上文学之路。根据以原文为中心的传统翻译理论,从是否忠实原文的角度去评价林纾的翻译,是无法解林纾翻译的魅力的。接受美学出现为翻译研究中,特别是译者在翻译过程中的作用和思维过程,提供了新的空间和思路。文学翻译是文学创作的一部分,文学作品中的意义空白、不确定性与否定性是语言艺术的特殊性,也是文学翻译的重要特征。译者作为原著的读者,只有抓住了文学作品中的意义空白、不确定性与否定性,通过再造性阐释进入其艺术世界;作为译著的作者,通过再造性表达将原作的艺术世界外化为一种译语表达形式,以满足读者的审美需求。本文的立足点就是从读者接受的角度,对《黑奴吁天录》中意义不确定性在翻译再创造地过程中的体现进行了理论与实践的探索。本研究首先叙述接受美学的产生、发展过程,以及在中国的引进和传播,并论述了接受美学和翻译的密切关系。接受美学的一个核心部分就是文本的召唤结构。因为作品文本是一个多层次未完成结构,文学作品所用语言是一种描叙性语言,其内涵含蓄模糊,其中藏有许多未定点或意义空白。而这种空白与未定点构成了文学作品的重要审美特征,是联络作者创作意识与接受意识的桥梁。接受者在接受过程中要以个人的想象力、经验、道德观念和审美标准对艺术作品的不确定意义给以特定的含义,并填补意义的空白。而重建原文的具体化过程中,就需要读者运用格式塔心理来完形、填补、实现文本的潜能。传统的翻译理论强调以文本为中心,以译者为媒介,以读者为接受终端的单项过程。接受美学认为翻译是创造主体与接受主体间的对话,是译者的视界和文本召唤结构相互融合的结果。按照接受美学的观点,文本是个开放性的结构,因此不确定性也就贯穿了翻译的理解过程和再现过程。译者应注重意义不确定性在多层次语言结构系统的审美再现,这部分是本文的重点内容。文学作品意义往往含有空白,多义,模糊,不确定等特点。翻译时,译者要重建原文的语境及召唤空间,尽量译出原文意义的召唤结构。同时,在重现原文语言、意义召唤结构的再创造中,译者要时时考虑读者的需求。这样在选词造句中就会出现不同的效果。审美再现的目的就是让读者能够解读原文,从而产生共鸣,得到相应的美感享受。本文根据作品文本是一个多层次未完成结构,作者利用接受美学的不确定理论及期待视野理论,对《黑奴吁天录》进行多层次语言结构系统分析,以探析译文的审美特征,并以此解读林纾的翻译为什么在当时很受欢迎的原因。当然本研究旨在为文学翻译批评方法探索提供更为有效的途径。更多还原

【Abstract】 Aesthetics of reception produced in the late 1960s, which was based on the phenomenology and hermeneutics aesthetics, has provoked a huge response in the circle of western literary criticism. It emphasizes the function of reader in the theory of literary criticism and shifts the focus of contemporary literary criticism from the writer and works to the relationship between reader and works. Aesthetics of reception holds that literary work has the nature of openness and indeterminacy which are manifested as a blank in literary work. Under the response-inviting structure of literary work, the reader tries to fill the indeterminacy with his imagination to realize the potential aesthetic value of literary work. In the late 1980s aesthetics of reception was passed in to China. National scholars have deeply studied and discussed it in Chinese situation. Zhu Liyuan ever analyzed aesthetics of reception, made revision on its limitation and further expanded this notion. He also proposed the six criticism models about aesthetics of reception in literary criticism. This paper uses theory of reception and Zhu Liyuan’s amendments to analyze the Chinese version of Uncle Tom’s Cabin, Hei Nu Yu Tian, and to explore the indeterminacy of meaning embedded in the process of translation and its aesthetic representation from the multi-level structure of its system.Lin Shu’s translations had ever produced a tremendous social and cultural impact on the society and enlightened a great number of modern writers and translators to embark on their journey of literary creation. The charm of Lin’s translations cannot be simply explained with the traditional translation theory, which is preoccupied with the evaluation of the target text based on its degree of faithfulness to the source text. However, the emergence of aesthetics of translation provides literary translation research a new space, especially the translator’s function and creation in the process of translation. Literary translation is a part of literature creation, and the indeterminacy of meaning, blank space and negation is the aesthetic and language nature of literary work. As reader of source of text, only by grasping the indeterminacy of meaning in the literary work can the translator get into the artistic realm of source work to interpret its beauty. As author of target text, translator should represent the artistic realm of source work into target text through recreated expression in order to satisfy the reader’s aesthetic need. Literary translation is essentially an aesthetics recreation activity which is limited by source text. This recreation is called limited creation. This paper is designed to analyze indeterminacy of meaning in process of translation as to show how the translator reaches the effect of aesthetic representation in Hei Nu Yu Tian Lu.This paper firstly offers a brief description to the development process of Aesthetics of reception, and its spreading and development in China, then discusses the relationship between aesthetics of reception and literary translation. The core of Aesthetics of reception lies in the appealing structure of text. As literary works are rich in gap, fuzziness, polysemy and indeterminacy, it exposes the ultimate open space,and every reader may be aroused to explore and create the open and profound meaning of text according to his own experience, knowledge and imagination. To reconstruct the connection left by indeterminacy and gaps, the readers are required to apply“gestalt”psychology to fill in the indeterminacies and gaps in their own way.Traditional translation theories hold that translation is a monomial process aiming at text-center, ending with the reader-terminal and regarding the translator as a media. However, Aesthetics of reception adheres to the notion that translation is a dialogue-relationship between the literary text and its interpreter, and the meaning of the text is achieved after the fusion of readers’horizon with the horizon of the text during the process, so the meaning of the text is never closed or static but always open-ended and dynamic and indeterminacy exists in both process of understanding and representing. The emphasis of this thesis is laid on the aesthetic representation in multi-layers language system. As the literary works are full of gaps and indeterminacies, a translator is expected to recreate the original appealing structure in his translation. He should recreate the corresponding context and appealing open space in appropriate diction and expressions. In the recreation of the appealing structures in the literary language and textual meaning, a translator should bear the notion of reader’s need in mind, by virtue of empathy, which would influence his diction, and make his version a difference. The immediate aim of literary translation is to endow reader with aesthetic enjoyment by enabling him to decode the text through the process of reading. According to Aesthetics of reception, the literary works are created by both the author and the reader. And comparatively speaking, the reader more than plays a crucial part in literary recreation; he is an actual pivot of the whole recreation.According to uncompleted multi-level structure of text, the author uses Aesthetics of reception to analyze Hei Nu Yu Tian Lu, and to explore its artistic feature and aesthetic representation of indeterminacy in translation on the levels of prosodic feature and form, semantic construction, image and artistic conception and psychology. Through this analysis, the author hopes to find why Lin Shu’s translation was popular at that time. And this paper can also provide an effective method for the translation of Chinese literature in the light of aesthetics of reception.更多还原