雪萊抒情詩兩漢譯本比較研究——從譯者主體性的角度

1、上海交通大學(xué)碩士學(xué)位論文雪萊抒情詩兩漢譯本比較研究——從譯者主體性的角度姓名：丁曉惠申請學(xué)位級別：碩士專業(yè)：英語語言文學(xué)指導(dǎo)教師：胡開寶20091201IV ABSTRACT Translators, as the subject of translation activities, play important roles in translation. However, for a long period in both Chine

2、se and Western translation studies, translators were reduced to an inferior and marginal place, whose importance was ignored. Since the emergence of cultural turn in the Western translation studies in the 1990’s, transla

3、tor’s status has been emphasized, and translator’s subjectivity has now become a hot issue in translation studies. Many Chinese versions of Shelley’s lyric poems have been published since the early 1900’s, among which

4、Zha Liangzheng’s and Jiang Feng’s versions are most popular. The previous studies on the Chinese translations of Shelley’s poems were mostly conducted from the perspectives of the source texts and authors, which involved

5、 little of translators’ role as the subject of translation. However, translators play important roles in the practices of poem translation, since translators’ understanding of the original, aesthetic values, translators’

6、 ideology and re-creation exert influence on their translation. The thesis makes a comparison of the two Chinese translations of Shelley’s lyric poems from the perspective of translator’s subjectivity. It analyzes tran

7、slator’s subjective factors and their display in poem translations, and influences of translator’s subjectivity on the two versions of Chinese translation of Shelley’s lyric poems. The thesis is composed of five chapters

8、. Chapter One introduces the background, significance, methodology of the study. Chapter Two introduces Shelley and the artistic characteristics of his lyric poems, as well as the translations of Shelley’s lyric poems in

9、 China. Chapter Three provides the theoretical basis for the thesis research. Translator’s subjectivity and its philosophical basis hermeneutics are introduced. Chapter Four is the body part of the thesis, in which a com

10、parison of the two translators’ Chinese versions of Shelley’s lyric poems is conducted from the perspective of translator’s subjectivity. Chapter Five draws a conclusion that differences of the translator’s subjective fa