摘要
本文基于自制的《西游记》中文-西班牙语平行语料库(CCVAO),通过研究西语译本中对女妖名称和称谓、言行举止以及外貌描绘的翻译,我们发现译本所呈现出的女妖形象在社会规制的压制与自由意志的表达这两者搭建的坐标轴系统中与原作中的形象定位发生了偏离。这些女性艺术形象经过译者的加工塑造,从作者笔下的“他者”转变成了带有译者“自我”投射的“创造性想像物”。研究这一创造性加工的动因以及过程,可以帮助我们了解译本背后不同文化和思想形态的差异性,为跨文化交流提供一些参照。
Based on the self-made Chinese-Spanish Parallel Corpus of Journey to the West(CCVAO)and through the study of the Spanish translation of the names and appellations,speeches and behaviors,and also the appearances of the female evil spirits,we found that their images presented in this translation deviate from the original images in the coordinate axis system constructed by the suppression produced by the social regulations and the expression of free wills.These female artistic images have been processed and shaped by the translator,and transformed from the“other”described by the author to a“creative imagination”with projection of the“self”.By studying the motivation and process of this creative processing,we can understand the differences of cultures and ideologies behind the translation with the aim to provide some references for cross-cultural communication.
出处
《外国语文》
北大核心
2022年第6期122-128,共7页
Foreign Languages and Literature
基金
教育部人文社会科学青年基金项目“基于语料库的《西游记》西班牙语译本研究”(18YJC740064)的阶段性成果。
作者简介
宓田,女,南开大学外国语学院讲师,博士,主要从事翻译与跨文化研究。
