翻译美学视域下的元杂剧译者主体性研究——以《窦娥冤》为例

Research on the Translator’s Subjectivity of Yuan Drama from the Perspective of Translation Aesthetics--Take Dou E Yuan as an Example

作为中国古代悲剧的典范作品,《窦娥冤》以引人深思的主题思想和经久不衰的美学价值吸引了译者和学者的共同关注。在《窦娥冤》英译过程中,译者们在遵循翻译美学理论框架的基础上,充分发挥了各自的主体性,从而带给不同时期的读者不同的审美感受。本研究通过对比分析《窦娥冤》三个英译本中审美主体对审美客体的认识与再现之异同,以期对元杂剧翻译理论和实践有所启示。

As a typical work of Chinese ancient tragedy,Dou E Yuan,has attracted the attention of translator and scholars with its thought-provoking themes and eternal aesthetic values,has attracted the attention of translators and scholars.In the process of translating Dou E Yuan into English,translators give full play to their subjectivity on the basis of following the theoretical framework of translation aesthetics,so as to bring the enjoyment of beauty to readers in different periods.This research makes a contrastive analysis of the similarities and differences among aesthetic subjects in the understanding and representation of the aesthetic objects in the three English versions of Dou E Yuan to provide some enlightenment to the theory and practice of Yuan drama translation.