试论文学翻译中的审美效果.

试论文学翻译中的审美效果

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试论文学翻译中的审美效果

On the Aesthetic Effects of Literary Translation

【作者】陈海苹；

【导师】黄振定；

【作者基本信息】湖南师范大学，英语语言文学， 2005，硕士

【摘要】本文主要是从美学角度来阐释、分析文学翻译的相关理论和方法,提出文学翻译所具有的功能就是它所展示于人的审美或美学效果,而真正意义上的审美或美学效果的再现应是译文忠实再现原文的内容美和形式美。本文首先介绍了国内外文学翻译的现状,指出无论是西塞罗关于“演说家式的翻译”的主张,泰特勒的“翻译三原则”,或是我国汉末佛经翻译的文、质之争,近代严复的“信达雅”理论,还是傅雷的“神似”说,钱钟书的“化境”说,这些都是将传达文学作品的审美/美学效果和满足审美主体(译者和读者等)的审美心理作为译者的终极目标。但是在实际操作中,这些原则或理论往往被错误运用。如当代我国对许渊冲的“三美”(音美,意美与形美)的争论。从哲学意义上来看,这个原则有其片面之处,它过于强调审美,以至忽视了忠实。而文学作品的美总是体现在其用词、风格等语言形式上,我们要综合考虑,才更能体现原文的美学效果。本文其次分析了译文中的审美/美学效果和忠实的辩证统一的关系。由于我国和西方民族在文化,传统等方面存在的差异,所以导致了中西民族在审美心理、审美意识上的巨大不同。我国的传统文学主观色彩极其浓郁,强调的是心境意绪的传达,喜欢借景抒情,遗形写神。而西方哲学的鼻祖亚里士多德就主张美学的最高境界是“照事物应有的样子去摹仿”,这一“摹仿”论早已渗透到了西方文学艺术的各个领域,并且一直成为西方传统艺术和美学的基本立场。所以在文学翻译这一双语转换的过程中,译者不仅要将原文的内容与形式忠实表达出来,而且还要使译文读者感受到原文读者一样的审美价值。但是我们不能为表现原文的美

学效果而一味追求华丽的辞藻甚而抛弃忠实的原则,因为背离了原文的美不能称其为美,只不过是译者自己的文学创作而已。更多还原

【Abstract】 This article discusses and explains the relevant theories and methods of literary translation mainly from the aesthetics perspective. The author thinks that the foremost function of literary translation is the version’s aesthetic effects conveyed to the readers, and that the reproduction of the aesthetic effects in the translated text should be the faithful reproduction of the beauty of the content and form of the original text.This paper, firstly, by introducing the actuality of literary translation in our country and in the West, points out that the following principles or standards, without exception, place it as a translator’s final goal to convey the literary works’ aesthetic effects and to satisfy the aesthetic subjects’ aesthetic mentality, whether it is Cicero’s statement about "orator-like translation", Tytler’s three "laws of translation", the disputes over "Wen" and "Zhi" translation of Sanskrit Buddhist scriptures into our country in the late of Han Dynasty, Yan Fu’s theory of " Xin Da Ya", or it is Fu Lei’s "spiritual conformity" and Qian Zhong-shu’s "sublimed adaptation". But in practice, these principles and standards are often wrongly applied. Take the present debate on Xu Yuan-chong’s "three facts of beauty" (beauty in sound, in meaning and in form) in our country. Philosophically, this standard is unilateral to a certain extent, as it emphasizes the aesthetics of the translated text so much so that

it neglects the faithfulness to the original text. While the beauty of literature production always lies in its linguistic form such as its wording and style, which, as a result, should be taken into account in order that we can realize the aesthetic effects of the original text.Secondly, the author analyses the dialectic and unitive relation between the aesthetic effects and faithfulness in the version. There are differences in cultures and traditions of Chinese people and westernpeople, consequently, Chinese and Westerners differ greatly in their own aesthetic mentality and consciousness. Chinese classic literature focuses o n the transmission of human’s frame and mood of mind, expressing one’s emotion by means of the description of the scenery. However, The ancient Greek philosopher Aristotle claims that the most perfect aesthetics is to imitate something as it is. His point of view of "apery" has penetrated every literature-and-art field in the West and has been the basic standpoint of Western traditional art and aesthetics. Therefore, in the process of literary translation, that is, the exchange of languages, we translators should not only convey the content and form of the original