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英国著名翻译理论家乔治斯坦纳(Steiner)曾经对翻译的程序作过这样的表述:“翻译的步骤有四:⑴信赖(trust);⑵侵入(aggression)⑶吸收(incorporation)⑷补偿(restitution)。”(1975/1992:312-316)斯坦纳的翻译四步骤无一不强调译者的主体性。因此,在翻译的过程中译者可以在翻译什么,为什么翻译,如何翻译等问题上做出选择;与此同时,译作还受到译者的性格、个人经历、美学观念、文学能力以及当时所处的主流意识形态等因素的制约。换言之,译作的翻译受到译者主体性的操控。本文试从译者主体性的角度,以朱生豪译的《哈姆莱特》为例,探究作为承载了民族文化内涵和审美感受的意象,如何在文学翻译中进行传递的。
Steiner, a well-known British translation theorist, once made the following statement about the translation process: “There are four steps in translation: ⑴ trust; ⑵ aggression ⑶ incorporation ⑷ restitution ) ”(1975/1992: 312-316) Steiner’s four-step translation emphasizes the translator’s subjectivity. Therefore, in the process of translation, translators can make choices on such issues as translation, why translation and how to translate. At the same time, translation is influenced by the translator’s personality, personal experience, aesthetic ideas, literary competence and the place The mainstream ideology and other factors. In other words, the translator’s translation is subject to the translator’s subjectivity. This paper attempts to explore how Hamlet, translated by Zhu Shenghao as an example, carries the image of national culture connotation and aesthetic experience and how to convey it in literary translation from the perspective of translator’s subjectivity.