论文部分内容阅读
翻译研究的文化转向,使译者中心论得到确认。实践证明,译者的文化意识、审美倾向在翻译过程中往往成为译者、原作者、原语篇、译语篇、读者之间发生交际和共鸣的“文化场”。这就使关注译者的文化意识、审美倾向成为解析原语和译入语如何互文沟通的关键。佐藤春夫以中国古代女性所作诗歌为原语文本编译的《车尘集》集中体现了他在多元化文化意识下建构审美倾向的过程以及中日两国之于古典文化的互文顺应关系。
The Cultural Turn in Translation Studies Confirms the Translator’s Center Theory. Practice has proved that the translator’s cultural awareness and aesthetic tendencies tend to become the “cultural field ” in the process of translating, which occurs in the translator, the original author, the original discourse, the translated discourse, and the reader. This makes it paramount to focus on the translator’s cultural awareness and aesthetic tendencies as the key to interpreting how transitive primitives and transliterations intend to communicate. Sato Chun-fu’s “Collection of Cars and Cars” compiled by Chinese ancient women’s poetry as the original text embodies his process of constructing the aesthetic tendency under the diversified cultural awareness and the intertextuality between China and Japan in the classical culture.