| （摘要内容经过系统自动伪原创处理以避免复制，德语论文题目，下载原文正常，内容请直接查看目录。） 跟着社会成长和全球化过程的赓续推动，德语论文网站，分歧国度、分歧说话和分歧文明之间的交换和协作愈来愈频仍，接洽愈来愈慎密。作为说话和文明的流传者，译者在现今社会饰演侧重要脚色。翻译运动也与我们的平常生涯愈来愈互相关注。但是，与作家、画家等艺术家分歧，译者的位置常常其实不受看重，译者的休息结果也常常不受承认。他们经常被称作手工休息者而非艺术家。在很多人眼中翻译仅仅是纯真的说话符号转换。译者的义务就是将原文中的单词、词组、概念调换为其在目标语的对应词。但是现实并不是如斯。和很多艺术创作运动一样，翻译，特别是文学翻译也是一项异常庞杂、须要译者充足施展性能力完成的艰难义务。文学文本的特别性决议其译文必需秉持原文的内在、作风和美学价值。若何在说话体系、文明配景和读者期许完整分歧的译语情况中重现原文特点，使译语读者能一窥原文及原语文明精华，取决于译者可否发明性地停止翻译理论。本文以《文学翻译中的发明性》为话题，经由过程引入发明学研究的无益结果，联合翻译实际，论证文学翻译自己足具有高度发明性地运动。经由过程引入弗朗茨·库恩义译版《红楼梦》的现实例子，从姓名翻译、表面翻译、诗歌和春联翻译三方面剖析库恩翻译战略的发明性、及到达的后果，证实文学翻译进程中译者冲破传统、充足施展发明性的公道性和需要性。 Abstract: Along with the social development and the process of globalization continuously promote, different countries, different languages and cultural differences between the exchange and cooperation in the increasingly frequent, contact is becoming more and more rigorous. As to speak of civilization and spread, the translator plays an important role in today's society side. The translation movement and our daily life more and more attention to each other. However, with writers, painters and other artists differences, the translator's position is often valued, the translator's results are often not recognized by the rest. They are usually referred to as hand rest rather than an artist. In the eyes of many people is a symbol of pure translation only speech conversion. The duty of the translator is the original words and phrases and the corresponding words in exchange for the concept of the target language. But the reality is not so. Like a lot of artistic creation and movement of translation, especially literary translation is a difficult task to give full play to the translator, confusion of the ability to complete. The special resolution of literary texts, and the translation must be the intrinsic aesthetic value with original style. How in language system and cultural background and readers expect different target language to reproduce the characteristics of the original, and make the target language readers a glimpse of the source text and source culture essence, depending from the subjectivity of the translator could stop translation theory invention. Based on the "invention" in literary translation is a topic, introducing research results through the invention of useless, combined with actual translation, literary translation has full demonstration movement is highly creative. Through the process of introducing Franz Kuhn semantic translation version of "a dream of Red Mansions" practical examples, from the name translation, translation surfaces, poetry and couplets translation from three aspects of analysis of the Kuhn's translation strategy of invention, and reach the consequences and confirmed in the process of literary translation, the translator break through tradition, cast sufficient invention of rationality and necessity. 目录: 摘要 2-3 Abstract 3 Wichtigc Abkiirzungen 6-7 1. Einleitung 7-10 1.1 Zur Wahl des Forschungsgegenstands 7-9 1.2 Aufbau der Arbeit 9-10 2. Zum Wesen des Ubersetzens 10-20 2.1 Was ist Ubersetzen 11-16 2.2 Das literarisehe Ubersetzen 16-20 3. Zum Wesen der Kreativitiit 20-25 3.1 Der Begriff Kreativitat im Wandel der Zeit 20-21 3.2 Die Definitional dcr Kreativitat 21-25 4. Zur Kreativitat in dem literarischen Ubersetzen 25-36 4.1 Die kreative Person 26-27 4.2 Der Ubersetzer als kreative Person 27-30 4.3 Der kreative Prozess 30-32 4.4 Das Ubersetzen als kreativer Prozess 32-33 4.5 Das kreative Produkt 33-34 4.6 Die Ubersetzung als kreatives Produkt 34-36 5. Zur Ubersetzungsanalyse von Franz Kuhns "Der Traum der roten Kammer" 36-59 5.1 Franz Kuhn und seine Ubersetzung 36-39 5.1.1 Lebcnslauf von Franz Kuhn 36-37 5.1.2 "Hongloumeng" und scin deuseher Ubersetzer Franz Kuhn 37-39 5.2 Kreativitat in Kuhns Ubersetzung "Der Traum der roten Kammer" 39-59 5.2.1 Das kreative Ubersetzen der Namen der Figuren 39-45 5.2.1.1 Das Ubersetzen der Namen dureh lautliehe Transkription 39-42 5.2.1.2 Das Ubersetzen der Namen nach Bedeutungen(Paraphrase) 42-45 5.2.2 Das kreative Ubersetzen des Aussehens der Figuren 45-52 5.2.2.1 Die selektiven Ubersetzungen des Aussehens 47-48 5.2.2.2 Die zusammenfassenden Ubersetzungen des Aussehens 48-49 5.2.2.3 Die Wort-fur-Wort- Ubersetzung des Aussehens 49-52 5.2.3 Das kreative Ubersetzen der altchinesischen Gedichte und Reimpaare 52-59 5.2.3.1 Die Form der chinesischen Gediehte 53-54 5.2.3.2 Die direkte Ubersetzung 54-55 5.2.3.3 Die kombinierende Ubersetzung 55-56 5.2.3.4 Die schopterische Ubersetzung 56-59 6. Schlusswort 59-62 Literaturverzeiehnis 62-64 Internetquellen 64-65 攻读学位期间的探讨成果 65-66 Danksagung 66-68 |
