중국 전통 미학을 계승한 번역 철학:푸레이(傅雷)와 린위탕(林语堂)의 번역론 비교
Translation philosophies based on Chinese traditional aesthetics: Focusing on translation philosophies of Fu Lei and Lin Yu Tang
0
조회
0
다운로드
2
인용
0
참고문헌
키워드
초록
This study is a comparative analysis of translation philosophies of Fu Lei and Lin Yu Tang who succeeded to Chinese traditional aesthetics, the doctrine of form and spirit. The analysis revealed similarities and differences of the two scholars in terms of translation methods, definitions of the concepts of form and spirit, relations between form and spirit, and the artistic nature of translation. Fu Lei argued for likeness, which leaned toward spirit focusing on conveying the spirit and thought that run through the whole work. On the other hand, stressing the importance of “what” and “how” the work speaks, Lin Yu Tang maintained that both spirit and form are equally important. Also, regarding the artistic nature of translation, Lin Yu Tang emphasized the subjectivity of translator as an artist, contending that translation is a “production” as an art rather than “reproduction.” On the other hand, Fu Lei put an emphasis on the relatively passive creativity of translator, presupposing that translation is a recreation based on the original work.
Abstract
This study is a comparative analysis of translation philosophies of Fu Lei and Lin Yu Tang who succeeded to Chinese traditional aesthetics, the doctrine of form and spirit. The analysis revealed similarities and differences of the two scholars in terms of translation methods, definitions of the concepts of form and spirit, relations between form and spirit, and the artistic nature of translation. Fu Lei argued for likeness, which leaned toward spirit focusing on conveying the spirit and thought that run through the whole work. On the other hand, stressing the importance of “what” and “how” the work speaks, Lin Yu Tang maintained that both spirit and form are equally important. Also, regarding the artistic nature of translation, Lin Yu Tang emphasized the subjectivity of translator as an artist, contending that translation is a “production” as an art rather than “reproduction.” On the other hand, Fu Lei put an emphasis on the relatively passive creativity of translator, presupposing that translation is a recreation based on the original work.
참고문헌 (8)
- 손지봉, "林語堂 번역론 연구", 중국학보, (62), pp.173~189 (2010), 한국중국학회
- 손지봉, "傅雷의 번역관 고찰", 중국학연구, (52), pp.163~183 (2010), 중국학연구회
- 高岭, "形似"与"神似", 北京广播电视大学学报, (4), pp.29~32 (1999)
- 罗新璋, "翻译论集" (2009), 商务印书馆
- 王秉钦, "20世纪中国翻译思想史" (2004), 南开大学出版社
- 郑笠, "感性物态的形上皈依—莊子形神观美学解读", 江南大学学报(人文社会科学版), 09(5), pp.115~120 (2010)
- 许钧, "“形”与“神”辨", 外国语, (144), pp.57~66 (2003)
- Edward Sapir., "Language : An Introduction to the Study of Speech" (1921), Harcourt, Brace and company