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作 者:张媛[1,2] ZHANG Yuan(School of Humanity,Soochow University,Suzhou,Jiangsu 215006;School of Foreign Languages,Jiangsu University of Science and Technology,Zhenjiang,Jiangsu,212003)
机构地区:[1]江苏科技大学外国语学院,江苏镇江212003 [2]苏州大学文学院,江苏苏州215123
出 处:《南京理工大学学报(社会科学版)》2020年第4期56-64,共9页Journal of Nanjing University of Science and Technology:Social Sciences
基 金:2019年度江苏省高校哲学社会科学研究一般项目“文化身份视域下的赛珍珠接受研究”(项目编号:2019SJA1921)。
摘 要:施耐庵在《水浒传》中塑造的为数不多的女性人物形象,无论是潘金莲、潘巧云、阎婆惜、贾氏等超越妇德规范的女性,还是扈三娘、孙二娘、顾大嫂等梁山女英雄,都带有作者施耐庵对女性的程式化歧视,带有浓厚的中国封建男权文化色彩和宋明理学的印痕。赛珍珠一方面主要采用异化策略对《水浒传》中女性人物进行如实翻译,另一方面出于对接受语境、目标语读者的美学品味和女权主义思潮的考虑,对这些女性悲剧人物都按照自己的文化趣味采用了有意不译、意译与改译、增译、减译等归化策略,并在英语世界获得认同,由此形成了女性形象在译作与原作中的美学反差。从原著、读者、译者三个角度分析,赛珍珠的翻译实践及其翻译策略,对今天的翻译工作者能提供诸多启示。Shi Nai’an depicted only few female characters in Shui Hu Zhuan,all of whom violate and surpass feminine virtues and morality,being them women like PAN Jinlian,PAN Qiaoyun,YAN Poxi,and Madam Jia,or Liangshan heroines like FU Sanniang(The Green Snake),SUN Erniang(Mother of Devils),FU Dasao(Goodwife Ku).They all bear Shi Nai’an’s stereotyped discrimination against females,with a strong Chinese feudal patriarchy and Neo-Confucianism in Song and Ming Dynasties.On the one hand,Pearl S.Buck mainly adopted foreignization strategies to literally depict female characters in Shui Hu Zhuan.On the other hand,she adopted domestication strategies of intentional non-translation,free translation and adaptation in portraying these female tragic figures,taking into account of the reception context,the aesthetic taste of the target language readers and the feminist trend of thought.Her translation strategies gained recognition in the English world,and created an aesthetic contrast of female images between the original and translated versions of Shui Hu Zhuan.A three perspective analysis to Pearl S.Buck’s translation strategies and practices,the original work,readers and the translator,can offer great insight for contemporary translators.
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