摘要
传统翻译理论强调“忠实”而忽略了译者的“创造”和“叛逆”。20世纪60年代,埃斯卡皮提出“创造性叛逆”概念,在理论上丰富了传统译论。文学翻译史上众多成功译例也从实践上证明了译者创造性叛逆存在的必然性。但译者主体性的发挥要受到原文、原语及目的语语言规范等制约因素的限制。正确理解了译者的创造性叛逆,译者就应在充分发挥主体性因素的同时把握创造性叛逆的限度,以便在最大范围内达到翻译目的并取得良好的文学、文化及社会效应。
Traditional translation theory pays more emphasis on ＂faithfulness＂ instead of ＂creativity＂ and ＂treason＂ of the translator. In 1961, French socialist Escarpit put forward the concept of ＂creative treason＂ for the first time, which enriched the translation theory. Numerous examples in literary translation prove the inevitability of the translator＇s creative treason. Meanwhile, the translator cannot transcend the original author in his intent, and therefore his cre ative treason must be fulfilled within certain limitations, such as restriction of the source text, the source culture norms, the target culture norms as well as the translation norms. With a proper understanding of the concept, the translator should bring his creativeness into full play while at the same time keep close watch over the mainstream of source culture and target culture norms with his good command of the source text, so as to achieve a balance between his creativeness and the ＂macro＂ tory effects in terms of language and society.
出处
《北京印刷学院学报》
2006年第2期64-67,共4页
Journal of Beijing Institute of Graphic Communication
关键词
文学翻译
创造性叛逆
限度
literary translation
creative treason
restrictions
