摘要
清代客家诗人吴熙乾所作《战马吟》脍炙人口,曾风靡一时。然时至今日,却极少被人熟知。两位客籍译者以两种截然不同的方式对《战马吟》进行了语内翻译。译者主体性的不同,对客体与对象关系的界定也有差异。他们对《战马吟》是诗剧还是史诗的观点认知差异翻译出了各具翻译特点的翻译文本,且两位译者各异的人生经验在思维层次、语义层次和审美层次也对翻译作品产生影响。这些特点虽呈现出极大的差异性,但其中却都蕴含了丰富的客家文化传统。
This paper locates the cultural implication in the frame work of translator＇s subjectivity. Ode to The War Horse written by Wu Xiqian, a Hakka poet in Qing Dynasty, was once popular. By taking comparison of two Hakka translator＇s versions, the author summarizes the strategies in view of the translator＇s subjectivity and the relationship between the object and the object relationship and points out that, although the two translation versions are with different translation features caused by the viewpoints of the types of literature and the personal experiences on the thinking, semantic and aesthetic levels, it turns out that Hakka tradition is deeply entrenched.
作者
黄斐
HUANG Fei(School of Foreign Languages, Jiaying University, Meizhou 514015, China)
出处
《嘉应学院学报》
2018年第6期9-14,共6页
Journal of Jiaying University
关键词
译者主体性
《战马吟》
典籍翻译
诗剧
史诗
客家文化传统
subjectivity
Ode to The War Horse
translation of ancient records
Poetic drama
epic
Hakka cultural tradition
