| 摘要:（摘要内容经过系统自动伪原创处理以避免复制，下载原文正常，内容请直接查看目录。） “生疏化”是俄国情势主义的焦点概念，它是什克洛夫斯基在1917年提出的。“生疏化”这个概念是对艺术之于生涯的进一步商量，是对亚里士多德的模拟论的再深刻艺术是以其自己情势的庞杂，赞助我们从新对待事物，以恢复对生涯最新颖的感知。为了能更好地舆解这一概念，亚里斯多德和黑格，浪漫主义中华兹华斯和雪莱等人的相干实际也被引入，互相接洽、渗入渗出、弥补。俄国情势主义以为，俄语专业论文，文学的实质特点是其文学性，是那些使特定著作成为文学著作的器械。作家和译者平日匠心独具地运用生疏化手段，使其著作生疏化，从而到达著作的文学性。生疏化是作家和译者的寻求，同时也是读者所等待的，是推进文学史成长的不竭动力。所以，对于译者来讲，若何对待和处置原作中的生疏化手段决议了译作的成败与否。本文从引见俄国情势主义实际的根本不雅点动手对生疏化实际停止研究从文学的特点和译者的职责两方面阐述了再现生疏化的需要性，和从说话的个性和读者的接收才能两方面论证了再现生疏化的能够性。并经由过程援用详细文学著作红楼梦及其英译本为例证，从语音、辞汇、句型和修辞手段方面来考核生疏化在文学著作中的再现和其在文学翻译中“生疏感”的美学价值停止了商量。从实际的层面下去看，译者有需要再现原作中的生疏化手段；从理论层面下去看，英汉翻译理论中已有许多再现原作中生疏化手段的胜利实例，但是在翻译理论详细进程中再现原作生疏化手段也存在必定的局限性。因此本文剖析了其局限性的缘由并对今后进修和理论研究提出了响应的建议，再现原作中的生疏化手段须要译者运用恰当的战略手腕；弗成否定，详细的手段和战略能够会跟着社会汗青前提的转变而变更，然则译者应该对生疏化手段惹起足够的看重，俄语毕业论文，赓续探访其再现的办法和手腕。 Abstract: "Strange" is the focal point of Russian formalism, which was put forward by Shklovsky in 1917. "Strange" the concept of art to further discuss career is the simulation theory of Aristotle and profound art is to its own situation complex, sponsored by the us from the new deal with things to restore perception of career the most novel. In order to better understand this concept, Aristotle and Haig, romantic Chinese hereby Wordsworth and Shelley, coherent actual is also introduced, mutual contact, infiltration, make up. Russian formalism that the substance of the literature is characterized by its literature, those who make the specific works of literary works. The writer and translator on originality means the application of strange, strange works, literary works in order to reach. Unfamiliar is the search for writers and translators, but also the reader is waiting for, is to promote the development of literary history, the inexhaustible motive force. Therefore, a translator is concerned, how to treat and dispose of strange means in the original decision of the success or failure of translation. The from the introduction of Russian formalism actual fundamental not elegant hands-on of strange theory research from two aspects of the duties of the characteristics and literary translator describes the reproduction strange of the need, and from two aspects of talking personality and readers can receive demonstrates the reproduction of strange to. And through the process invoked with literary works a dream of Red Mansions and its English version as an example, from the speech, speech vocabulary, sentence patterns and rhetorical aspects to assess the strange the aesthetics value of reproduction in literary works and its in literary translation "strangeness" stop the discussion. Looking down from the practical level, the translator needs to reproduce the original strange means; from the theoretical level down, examples of English Chinese translation theory has many reproduction of the original strange means victory, but in translation theory with the process of reproduction original strange means there are certain limitations. Therefore this paper analyses the limitation of reason and the future study and theoretical study of the proposed response to the proposal, reproducing the original strange means need translators apply the appropriate strategic wrist; Eph into negative, with tools and strategies to will follow the social and historical conditions change and change, however the translator should strange means cause enough value, gengxu visit its reproduction of ways and means. 目录: Acknowledgements 2-3 Abstract 3-4 摘要 5-8 Chapter One Introduction 8-17 1.1 Significance and Purpose of the Present Study 8-9 1.2 Researches at Home and Abroad 9-15 1.2.1 Studies on Defamiliarization in Translation at Home 9-12 1.2.2 Studies on Defamiliarization in Translation Abroad 12-15 1.3 General Arrangement of This Thesis 15-17 Chapter Two Original HongLouMeng and Its English Versions 17-25 2.1 The Original 17-19 2.2 Two English versions 19-23 2.2.1 David Hawkes’s The Story of the Stone 20-22 2.2.2 The Yangs’A Dream of Red Mansions 22-23 2.3 Summary 23-25 Chapter Three Defamiliarization 25-54 3.1 Origin and Development 25-38 3.1.1 Russian Formalism 25-29 3.1.2 Theoretical Foundation 29-31 3.1.3 Shklovsky: What Art Does to and for Life 31-38 3.2 Translatability of Defamiliarization in Literary Translation 38-52 3.2.1 The Form and Content 38-42 3.2.2 Necessity of Representation of Defamiliarization in Literary Translation 42-45 3.2.3 Possibility of Representation of Defamiliarization in Literary Translation 45-52 3.3 Summary 52-54 Chapter Four Manifestation of Defamiliarization in the Literary Translation of HongLouMeng 54-89 4.1 Manifestation of Defamiliarization at the Phonetic, Lexical and Syntactic Level 54-72 4.1.1 Beauty of Sounds: Rhythm and Rhyme 54-58 4.1.2 Artistic Choice of Words: Diction 58-63 4.1.3 Manifestation at the Syntactic Level 63-72 4.2 Rhetorical Devices 72-83 4.2.1 Homophonic Rhetorical Devices 72-76 4.2.2 Onomatopoeia 76-78 4.2.3 Figures of Speech 78-83 4.3 Limitation in Representation of Defamiliarization in Literary Translation 83-87 4.4 Summary 87-89 Chapter Five Conclusion 89-92 Bibliography 92-96 详细摘要 96-99 |
