《匆匆》英譯本對比研究

論文編號:YY646  論文字?jǐn)?shù):8727.頁數(shù):26  附任務(wù)書，開題報告，文獻(xiàn)綜述

摘    要
 相對于其它文學(xué)樣式翻譯的研究，散文翻譯的研究不夠深入廣泛。原因是多方面的，主要原因來自散文的范圍難以清晰界定。再者，由于散文語言常常被以為是不如詩歌語言的地位高。中國翻譯界對散文翻譯的研究較西方為盛，然而主要是就散文翻譯的某個側(cè)面開展的研究。劉士聰先生的“韻味說”和高建先生的“語言個性論”及“風(fēng)格可譯性”研究較為系統(tǒng)和深入，影響廣泛。
 本人以為，迄今為止，有必要對有關(guān)研究成果整理綜合一下，以再現(xiàn)原文風(fēng)格為指導(dǎo)，綜合運(yùn)用多種翻譯標(biāo)準(zhǔn)，過對形式與內(nèi)容各層次系統(tǒng)的對比研究，以期對散文翻譯提出一些理論上的思考。
 本文作者選取風(fēng)格再現(xiàn)為中心標(biāo)準(zhǔn)，以《匆匆》三個英譯本作為具體研究對象進(jìn)行如下方面的研究：第一部分是引言，提出研究的相關(guān)主題。第二部分是對散文翻譯標(biāo)準(zhǔn)的簡單介紹。重點(diǎn)是第三部分，形式與內(nèi)容的對比研究。主要又分為音韻層面，結(jié)構(gòu)層面和意義層面。其中結(jié)構(gòu)層面從形象化語言，形美與意美，和跨句法三個角度來分析；而意義層面又從忠實(shí)的比較和通順的比較兩個角度出發(fā)。第四部分是基于前面形式與內(nèi)容的分析，對三位譯者的風(fēng)格進(jìn)行分析比較，得出誰的風(fēng)格更接近原作的風(fēng)格。最后部分是總結(jié)。正因?yàn)樯⑽牡男问阶杂桑�靈活，文字優(yōu)美，被稱為“美文”，散文翻譯時就應(yīng)有多種翻譯標(biāo)準(zhǔn)，以重現(xiàn)原作的風(fēng)格為中心標(biāo)準(zhǔn)，注重從各個角度去翻譯，展現(xiàn)原文的風(fēng)格，是全面的，系統(tǒng)的翻譯方法。
 
關(guān)鍵詞：散文翻譯，形式與內(nèi)容，風(fēng)格再現(xiàn)

ABSTRACT
 Compared with translation studies of other literary genres, those concerning prose translation have been less intensive. There are many reasons. In my opinion, the fundamental reason is that prose is too general a concept, including too many forms of writings. It is as hard to study translation methods of the prose as a whole as to define so vast a territory the prose covers. On the other hand, the prose language is often mistakenly regarded as inferior to that of poetry. Among Chinese scholars in this field, Mr. Liu Shicong, who expounded on the “Artistic flavor” theory and Mr. Gao Jian, who put forward “Language Character Theory” and “The translatability of Style”, stand out for the comprehensiveness and intensiveness of their achievements.
 As far as I am concerned, it is necessary to integrate the relevant research achievement. In this paper the author will chose a center criterion----the reproduction of style and make use of a range of translation standards. Hope that the system comparative study between form and content will provide theoretical thinking for prose translation.
 In this paper the author will chose a center criterion----the reproduction of style, and take the English version of CongCong as object to have studies as follows; first part is introduction, in which the relevant theme is put out. And the second part is a brief introduction to the criterion for prose translation. The key part is the third part, which is mainly for the comparative study between form and content. Further, it contains three aspects as: rhythm level, structure level, meaning level. For structure level, it studies from figurative language, beauty of form and image, cross-sentence translation, while for meaning level it contains: comparison of honesty and comparison of fluent. Base on the above study, there is a comparison study from the reappearance style of original text in the forth part. The purpose is trying to get a result whose style is much more close to the original author’s style. And the final part is conclusion. As the prose enjoys the fame “beautiful essay”, and has the most flexible and liberal style, criteria for it should be more integrative and flexible. It is a systematic translation to translate prose from different perspectives with taking reappearance of style as the central criteria.

Keywords：Prose translation, form and content, reappearance of style
Contents

1．Introduction 1
2. Criterion of Prose Translation 2
2.1 Zhang Peiji’s Criterion: Faithfulness and Smoothness 2
2.2 Yan Fu’s Criteria 3
3. Comparative Studies between Form and Content 4
3.1 Rhythm Level 4
3.2 Structure Level 7
3.2.1 Figurative Language 7
3.2.2 Beauty of Form and Image 9
3.2.3 Study on Cross-sentence Translation 11
3.3 Comparison Studies from Meaning Level 12
3.3.1 Comparison of Faithfulness 12
3.3.2 Comparison of Smoothness 14
4. Comparison Studies from the Perspective of Style Reappearance of Original Text 15
4.1 The Style of Zhang Peiji 16
4.2 The Style of Zhu Chunshen 17
4.3 The Style of Zhang Mengjing 17
5．Conclusion 19
Acknowledgements 20
References 21

Abstract
 Animation film rhythm is the soul of the film; the rhythm is reflected in its meaning in life with a basic objective, is common law. Is the law of the unity of opposites. 《bunny story》 to brings is distinctive flavor, she notes the tones of rotating around the fulcrum, enthusiasm is bold and unrestrained, abounding emotion.
 
Key words:, Animation  Rhythm grasps,  Application

目  錄
引   言 1
第1章 動畫的意義 2
第2章 動畫影片中構(gòu)成節(jié)奏的因素 3
2.1動畫影片中的敘事節(jié)奏 3
2.2動畫影片中角色的運(yùn)動節(jié)奏 3
2.3動畫影片中的鏡頭變化節(jié)奏 4
2.4動畫影片中的聲音節(jié)奏 4
2.5動畫影片中角色造型構(gòu)成的節(jié)奏 5
2.6 本章小結(jié) 6
第3章 短片《Bunny Story》中節(jié)奏的把握與應(yīng)用 7
3.1短片的運(yùn)動節(jié)奏的把握 7
3.2個人短片鏡頭變化節(jié)奏 7
3.3個人短片中的聲音節(jié)奏 8
3.4 本章小結(jié) 8
結(jié)束語 9
致  謝 10
參考文獻(xiàn) 11