《茶馆》英译的译者主体性策略及误译探析  

Analysis of Translator's Subjective Strategies and Mistranslation in C-E Translation of Tea House

作　　者：王伟 WANG Wei(School of Foreign Languages and Literature,Wuhan University,Wuhan Hubei 430072,China;College of Foreign Languages,Nanchang Institute of Technology,Nanchang Jiangxi 330099,China)

机构地区：[1]武汉大学外国语言文学学院,湖北武汉430072 [2]南昌工程学院外国语学院,江西南昌330099

出　　处：《盐城工学院学报（社会科学版）》2022年第1期65-70,共6页Journal of Yancheng Institute of Technology（Social Science Edition）

基　　金：江西省社会科学基金项目(20YY20);江西省高校人文社会科学研究项目(YY19218)。

摘　　要：译者发挥主体性在文学翻译中不可或缺,兼具表演与阅读双重目的的戏剧翻译更要求译者有创造力。分析《茶馆》英若诚译本,认为译者在翻译中频繁“现身”,试图通过补偿、浅化、仿拟三种译者主体性策略来凸显原文的信息功能、交际功能、美感功能,使译本便于理解,但也有部分译文出现了文化“误译”,表现为译者主体意识缺位,译文过度忠实于原文形象,造成了认知上的障碍与文化上的隔膜。It is indispensable for translators to employ their subjectivity in literary translation,and for drama translation,which has dual purposes:for performance and reading,translator’s creativity is more important.Analyzing Tea House translated by Ying Ruocheng and holding that most of the time,the translator is visible in translation.He attempted to employ tree kinds of translator’s subjective strategies:compensation,generalization and parody,to highlight informative,communicative and aesthetic functions of the SL text,making the translation more easily understandable.However,in somewhere,cultural mistranslations emerge.Due to failure in employing translator’s subjectivity,those translations are too faithful to the original,thus bringing more cognitive and cultural obstacles for target readers.

关 键 词：《茶馆》 英若诚 戏剧翻译 译者主体性 

分 类 号：H159[语言文字—汉语]