接受美学视角下归化、异化策略的选用——Somewhere in Time两译本浅析
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摘要
自接受美学理论广泛运用在翻译研究之后,读者的期待视野也常用来作为衡量译本优劣的一个标准。通过理查德·麦瑟森的科幻小说《时光倒流》史国强译本和陈宗琛译本的比较,从接受美学的角度研究归化、异化等不同翻译策略对文本风格和读者阅读的影响。从文本细节的具体比较可以看出,史译本更多地采用异化策略,而陈译本更多地采用归化与异化相结合的策略。不同的翻译策略,让两种译本呈现出了不同的风格,而不同策略的译本对读者期待视野的满足也是不同的。
Since the Reception Aesthetics was widely used in translation studies,the reader's expectation horizon has also often been used as a standard to evaluate translations. Through the comparison between Shi Guoqiang's and Chen Zongchen's translations of Richard Messer's science fiction novel Somewhere in Time,this paper analyzes the influenceof two different translation strategies,domestication and foreignization,on text style and reader's reading based on accepting aesthetics. It can be seen from the comparison of the text details that Shi mainly used the foreignization strategy while Chen inclined to combine domestication and foreignization. Therefore,different translation strategies brought the target texts distinguishing features,which match the readers' horizon of expectations to varying extents.
Since the Reception Aesthetics was widely used in translation studies,the reader's expectation horizon has also often been used as a standard to evaluate translations. Through the comparison between Shi Guoqiang's and Chen Zongchen's translations of Richard Messer's science fiction novel Somewhere in Time,this paper analyzes the influenceof two different translation strategies,domestication and foreignization,on text style and reader's reading based on accepting aesthetics. It can be seen from the comparison of the text details that Shi mainly used the foreignization strategy while Chen inclined to combine domestication and foreignization. Therefore,different translation strategies brought the target texts distinguishing features,which match the readers' horizon of expectations to varying extents.
引文
[1] MATHESON RICHARD. Somewhere in Time[M]. New York:Tom Doherty Associates,1980.
[2] VENUTI LAWRENCE. The Translator's Invisibility[M]. New York:Routledge,1995.
[3]马萧.文学翻译的接受美学观[J].中国翻译,2000(2):47-51.
[4]理查德·麦特森.时光倒流[M].史国强,译.北京:现代出版社,2011.
[5]理查德·麦特森.似曾相识[M].陈宗琛,译.台北:春天出版国际文化有限公司,2010.
[6]贡欣.从读者反应论比较分析《边城》金译本和戴译本[J].安徽文学(下半月),2017(2):8-10.
[7] CODLEANU MIOARA. Socio-cultural Specificity and Translation. Socio-culturally Charged Idioms and Cultural Equivalence[J]. Annals
[8]孙淑芬.接受美学与文学翻译中的接受者[J].江西社会科学,2007(12):156-158.
[9]陈琪.期待视野与翻译策略选择[J].中华文化论坛,2008(S1):227-228.
(1)Oxford University Press.Doormat.Oxford Living Dictionaries-English.2018.Available at:https://en.oxforddictionaries.com/definition/doormat Accessed:31 July,2018.
[2] VENUTI LAWRENCE. The Translator's Invisibility[M]. New York:Routledge,1995.
[3]马萧.文学翻译的接受美学观[J].中国翻译,2000(2):47-51.
[4]理查德·麦特森.时光倒流[M].史国强,译.北京:现代出版社,2011.
[5]理查德·麦特森.似曾相识[M].陈宗琛,译.台北:春天出版国际文化有限公司,2010.
[6]贡欣.从读者反应论比较分析《边城》金译本和戴译本[J].安徽文学(下半月),2017(2):8-10.
[7] CODLEANU MIOARA. Socio-cultural Specificity and Translation. Socio-culturally Charged Idioms and Cultural Equivalence[J]. Annals
[8]孙淑芬.接受美学与文学翻译中的接受者[J].江西社会科学,2007(12):156-158.
[9]陈琪.期待视野与翻译策略选择[J].中华文化论坛,2008(S1):227-228.
(1)Oxford University Press.Doormat.Oxford Living Dictionaries-English.2018.Available at:https://en.oxforddictionaries.com/definition/doormat Accessed:31 July,2018.