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作为中国翻译文学史上早期的翻译家之一,郭沫若的贡献不仅在于他翻译引进了那么多外国文学名著,而且表现在对文学翻译发展状况的关注上。针对20年代翻译界出现的粗制滥造的现象,他提出了“翻译是媒婆,创作是处女,处女应该加以尊重”的观点,强调译者的翻译动机与责任感。此后他根据切身的实践提出了“翻译是一种创造性的工作,好的翻译等于创作”的文学翻译观,提倡创造性的翻译。诗歌翻译上,他主张“风韵译”,强调诗歌翻译对于原文的气韵不许走转。这些观点的提出对中国翻译文学理论的建设和翻译文学事业的发展都产生了重要影响。
As one of the earliest translators in the history of Chinese translation literature, Guo Moruo’s contribution not only lies in the fact that he has introduced so many foreign literary works in his translation, but also in paying close attention to the development of literary translation. In view of the shoddy phenomenon that appeared in the translation field in the 1920s, he put forward the viewpoint that “translation is a matchmaker, creation is a virgin, a virgin should be respected”, emphasizing the translator’s motivation and responsibility for translation. Since then, he has put forward the literary translation concept of “translation is a creative work, and good translation equals creation” based on his own practice and advocates creative translation. In the translation of poetry, he advocated “translating charm”, stressing that poetry translation should not be allowed to turn around for the original character. These views have an important impact on the construction of Chinese translation literary theory and the development of literary translation.