晚清至“五四”的译者形象变迁及其缘由探源  

Image Transitions of Chinese Translators / Interpreters from 1840 to 1919 and the Reasons Behind

作　　者：贺爱军[1] 

机构地区：[1]宁波大学外语学院,浙江宁波315211

出　　处：《外国语》2015年第3期83-90,共8页Journal of Foreign Languages

基　　金：国家社科基金项目(12CYY004);浙江省哲社规划课题(11JCWY02YB);浙江省高等学校中青年学科带头人学术项目(pd2013084);"外国语言文化"浙江省高校人文社会科学重点研究基地项目(JDW1214)成果

摘　　要：本文梳理了晚清至"五四"期间的译者形象,并探究了译者形象形成及其转变的社会历史缘由。笔者认为译者形象既是一种具体的符号形式,也是一种社会心理表征,它折射出想象主体所处的历史语境以及主体文化对异质他者文化的想象和态度。译者的形象建构与其说是对译者实际情况的客观反映,不如说是对中国特定历史语境的隐喻性表达。晚清至"五四"期间,在中国社会历史语境和社会风尚的双重变奏中,译者由"汉奸""假洋鬼子"的负面形象转变为"奶娘"和"盗火者"的正面形象。The article examines the Chinese translator / interpreter images from 1840 when the Opium War broke out to1919 when the May Fourth Movement kicked off and explores the reasons behind the image transitions. The author holds that the translator / interpreter image is not only a symbol of a profession but a representation of social psychology as well. It reflects the historical context of that times and the imagination and attitudes of the host culture towards the guest culture. The formation of the Chinese translator / interpreter image is more a metaphorical expression of the specific social and historical situation than an objective representation of translator / interpreter’s true situation. Right in the social and historical changes of China from 1840 to 1919 the translator / interpreter image has transcoded from the negative ＂a bogus foreign devil＂to the positive ＂fire bringer＂.

关 键 词：译者形象 通事 假洋鬼子 盗火者 社会历史语境 

分 类 号：H059[语言文字—语言学]