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1、《紅樓夢(mèng)》位居中國(guó)四大名著之首,是中國(guó)古典文學(xué)藝術(shù)的瑰寶。詩(shī)歌作為該書(shū)的有機(jī)組成,在故事情節(jié)和藝術(shù)價(jià)值的塑造方面扮演著重要角色,長(zhǎng)期以來(lái)深受讀者喜愛(ài)。如今,在文化外譯這一時(shí)代背景下,《紅樓夢(mèng)》及其詩(shī)歌的翻譯日漸成為學(xué)界研究的熱點(diǎn)。本文旨在以劉宓慶的翻譯美學(xué)理論為依據(jù),對(duì)《紅樓夢(mèng)》詩(shī)詞在兩個(gè)主流英譯本中的譯文進(jìn)行一次案例對(duì)比和分析,從而發(fā)現(xiàn)譯者在審美價(jià)值觀和審美再現(xiàn)策略上的差異,并就詩(shī)歌翻譯中文化傳遞和語(yǔ)言優(yōu)化等問(wèn)題汲取一些有益經(jīng)驗(yàn)。
2、r> 美學(xué)與翻譯的結(jié)合自古有之,曾一度作為翻譯研究的核心思想盛行于東西方。翻譯美學(xué)的學(xué)術(shù)價(jià)值在于打破了“對(duì)等論”等傳統(tǒng)思維的桎梏,引導(dǎo)人們重新回到翻譯研究的本體層面,實(shí)現(xiàn)對(duì)譯本的語(yǔ)言優(yōu)化和功能代償。本文主要利用翻譯美學(xué)在審美主體,審美客體及審美再現(xiàn)等方面的理論展開(kāi)論述,通過(guò)對(duì)審美客體的對(duì)比分析,探索審美主體在審美價(jià)值觀和審美再現(xiàn)策略上的差異。文中用到的9個(gè)案例,全部選自楊憲益和霍克斯這兩個(gè)主流譯本,其中譯詩(shī)超過(guò)160首。
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