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|Title:||论曾锦文峇峇译本《三国》中的创造性叛逆 = A study on creative treason in Baba-Malay translated Sam Kok by Chan Kim Boon||Authors:||彭嘉馨 Pang, Jia Shin||Keywords:||DRNTU::Humanities||Issue Date:||2018||Abstract:||“创造性叛逆”是跨文化的文学翻译中的重要表现形式。为了使作品在目的语文化中得到接受，译者在译作中或有意识、或无意识地使用“创造性叛逆”的手段，以期完成的译作能够达到各方面因素的期待。19世纪末，在仍属英国殖民地的新加坡土地上，土生华人（即峇峇）们开始了他们的翻译事业。在许多峇峇语译本当中，以第一部长篇译本《三国》在读者群中收获了最热烈的回响。本文将以此译本作为研究对象，以其中的创造性叛逆现象为例，结合翻译改写理论、当时的社会与历史语境，探讨译本中创造性叛逆现象与社会文化因素之间的互动关系。通过探讨特殊社会历史语境下译本中的创造性叛逆现象，得以体现译本在目标读者群中的成功传播必须达到符合目标语文化意识形态的有意识型改写。 Creative treason is an important manifestation in cross-cultural literary translation. In order for the translated work to gain acceptance from target language’s cultural system and to meet the expectations of various factors, translators tend to use means of creative treason in their translation, whether it be consciously or unconsciously. In the late 19th century, on the land of British-colonized Singapore, the Peranakans (Baba) started their translation career. Among all of the baba-translated works, the first full translation of Sam Kok gained the most enthusiastic response from the target readers. This paper seeks to discuss the relationship between creative treason and sociocultural factors through applying Theory of Rewriting to the analysis of creative treason appearances in baba-translated Sam Kok. By exploring the appearances of creative treason in this special socio-historical context, it can be reflected that the successful dissemination of the translation among its target readers would have been impossible if the translation work wasn’t consciously rewritten according to target language’s cultural ideology.||URI:||http://hdl.handle.net/10356/73415||Rights:||Nanyang Technological University||Fulltext Permission:||restricted||Fulltext Availability:||With Fulltext|
|Appears in Collections:||HSS Student Reports (FYP/IA/PA/PI)|
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