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作 者:胡安江[1] 彭红艳[1] HU Anjiang;PENG Hongyan(College of Translation and Interpreting,Sichuan International Studies University,Chongqing 400031,China)
出 处:《外语教学与研究》2022年第2期298-307,F0003,共11页Foreign Language Teaching and Research
基 金:国家社科基金项目“中国现当代文学对外译介与传播的效能、影响与机制研究”(19XWW002)的阶段性成果。
摘 要:体认翻译学认为,翻译是一种体验互动和认知加工活动。美国诗人Peter Stambler在透彻理解寒山诗所表达的有关现实世界和认知世界中各类意义的基础上,根据自身经验、现实语境、认知框架以及原文语篇的文本功能及语用意图,在译诗中注入各类背景知识、前景化手段、话语视角、语义逻辑和句法结构,并运用感觉知觉、意象图式、范畴化和概念化、概念整合、识解等体认方式,通过对应、筛选、增删、挪借、转喻、改写、置换等“映射”和“创仿”手段,创造性地输入了各种新创结构和新创信息,实现了充分且适宜的文本交际目的和译者的个人目的,体现了以译者为中心的能动性和译本的能动性,同时也保证了译诗与原诗在文体价值和美学效果上的潜在映射关系和体认像似性。Embodied-cognitive translatology holds that translation is an embodied-cognitive activity.On the basis of a thorough understanding of the varied meanings in the real and cognitive worlds expressed in Cold Mountain Poems,American poet-translator Peter Stambler infused background knowledge,foregrounding means,discourse perspectives,semantic logic,and syntactic structure into the translated poetry according to his personal experience,the real-world context,cognitive frame as well as the textual function and pragmatic intention of the source text.By means of sensation,perception,image schema,categorization and conceptualization,and conceptual integration and construal,Stambler employed numerous forms of “mapping” and “creative imitation”,such as correspondence,screening,addition and deletion,borrowing,metonymy,rewriting as well as replacement,and creatively input diverse emergent structures and elements,in a bid to accomplish the skopos of functionally adequate/suitable text communication and the telos of the translator himself,which not only reflected the translator-centered agency and the agency of the translation but also ensured the potential mapping relationship and embodied-cognitive iconicity between the translated poems and the source poems in stylistic values and aesthetic effects.
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