翻译美学视角下的影视字幕翻译研究-英语语言文学专业论文.docx

I I 摘 要 摘 要 本文以翻译美学为方法论，通过两条并列的主线结合大量译例研究了字幕翻译的审 美客体及其属性，审美主体及其属性以及其审美认知系统。本文吸收接受主义的精神要 义，将影片观众纳入审美主体和审美认知系统研究范围之内。因此字幕翻译的审美包括 两个阶段，各个阶段有其审美主客体和认知系统。首先研究了审美主体即译者和观众。 译者在进行翻译活动时不是随心所欲的再创作而是要以原文为客观依据，并且要受到各 种限制：源语的可译性限制；语义限制；双语的文化差异限制；影片鉴赏的综合限制等， 但重要的是译者具有主体性，即作为翻译主体的译者在尊重翻译对象的前提下，为实现 翻译目的而在翻译活动中表现出的主观能动性。作为另一审美主体的观众根据自身已有 的审美经验已形成了固有的“期待视野’。其次研究了字幕翻译的审美客体：源语字幕和 译语字幕。之后重点研究了字幕翻译的审美认知系统，首先从译者审美的三个阶段：“观 览”，“品悟”，和“再现”研究了译者之“情”，接着对观众的审美吸收即观者之“感”进行 了详细的分析，旨在提高译者对影视观众的审美感受的重视，从而为观众译出符合观众 审美期待又易于其吸收的作品，使译语观众得到与源语观众相同的体验和感受。在最后 一章， 总结和分析了字幕翻译的审美原则。希望本文能为影视翻译提供一种新的理论 视角和操作模式，从而更好地为我国经济文化事业做贡献。 关键词: 字幕翻译 审美客体 审美主体 审美认知系统 II II Abstract Abstract This paper, based on the methodology of translation aesthetics, mainly studied the aesthetic objects, aesthetic subjects and the aesthetic cognition system with two lines. In this paper, the audience is included into study about the aesthetic subjects and the aesthetic cognition system by absorbing the soul of acceptionism. There are two stages on aesthetic activities of subtitle translation. Every stage has its own aesthetic subject, object and cognitive system. First the aesthetic subjects include the translator and the audience. The translator does not translate casually but has to base upon the source language. He would be restricted by many elements, such as constraints of the translatability of the source language, semantics, cultural differences, etc. But the most important thing is the existence of subjectivity of the translator. Another aesthetic subject is the audience. According to the previous aesthetic experience, the audience has got a kind of immanent “horizon of expectation”. Next, the aesthetic objects are studied. It includes the subtitle of source language and the subtitle of target language. The aesthetic cognitive system is studied from two aspects. The first is “the emotion of the translator”, which includes there stages, that is “appreciation”, “comprehending” and “reproduction”. Next “the feeling of the audience”