基于莎士比亚十四行诗汉译本的译者主体性分析

摘要

莎士比亚十四行诗是世界文学的奇葩,其在中国的受关注程度也很高。接受美学理论强调文本的未定性和读者的能动作用,认为译文读者对译本的接受过程是对文本的再创造过程,在这个过程中文学作品的文学性得以真正实现。因此在文学翻译过程中,译者需依据原语文本的和译语读者的期待视野来弥补原语文本的空白点,从而达到译语文本的最佳接受度。以接受美学理论为基础,对梁宗岱、屠岸和辜正坤翻译的莎士比亚第12首和第29首十四行诗的3个汉译本进行比较和分析,从主题、内容、形式及风格等方面探讨翻译过程中的译者主体性的实现和实现程度。认为梁译的可信度、屠译的可诵性、辜译的可读性分别满足了不同时期不同读者的审美情趣和心理期待,且3位译者都较大程度地在译本里实现了译者的主体性。%Shakespeare＇s sonnets,the brightest pearls of the world literature,have aroused great interest of scholars in China.Reception Aesthetics emphasizes the indeterminacy in literature works and subjectivity in readers＇ reading,who believe the process of the reader＇s receiving the translation is the process of the recreation of the piece of work,and at the same time in this process the literature features realize.Therefore,the translator in the translation process should concretize ＂spots of indeterminacy＂ of literature works,taking the horizon of expectations of the target language readers into consideration,to achieve the optimal reception of the translated text.From the perspective of Reception Aesthetics,this paper attempts to explore the translator＇s subjectivity based on the comparative analysis of theme,content,form and style in three Chinese versions of Shakespeare＇s Sonnet 12 and Sonnet 29 by Liang Zongdai,Tu An and Gu Zhengkun respectively.The paper comes to the conclusion after the comparative analysis and research： the credibility of Liang＇s version,the loyalty of Tu＇s version and readability of Gu＇s version have met the aesthetics expectations from different periods of time.The three translator＇s subjectivity were realized in their translation versions successively.