文献类型：期刊文献

中文题名：从格式塔视角看《傲慢与偏见》汉译本的反讽艺术

英文题名：On the Realization of Irony in the Chinese Translated Version of Pride and Prejudice from the Perspective of Gestalt Aesthetics

作者：刘玉婷[1];邵志洪[1]

机构：[1]华东理工大学外国语学院,上海200237

年份：2015

卷号：23

期号：3

起止页码：37

中文期刊名：新疆职业大学学报

外文期刊名：Journal of Xinjiang Vocational University

语种：中文

中文关键词：格式塔心理美学;傲慢与偏见;翻译;反讽艺术

外文关键词：Gestalt aesthetics; Pride and Prejudice; translation; irony

摘要：反讽艺术渗透于《傲慢与偏见》的各个部分,使小说整体的幽默反讽意味大于部分反讽效果之和。这种整体大于部分之和,完整即美正是格式塔心理美学的核心概念。试图在格式塔心理美学观照下,立足其三大原则,即整体性、凸显性、异质同构原则,以孙致礼(2011版)《傲慢与偏见》的汉译本为研究语料,分析该小说汉译本中反讽艺术在主题,人物刻画及语言组织方面的转化和运用,从而更好地理解该作品。
Jane Austen is a famous British novelist in the 19th century. Pride and Prejudice is one of her representative works. Irony penetrates into every parts of the novel, which makes the whole ironical meaning greater than the sum of the parts. What＇ s more, ＂the whole is greater than the sum of the parts＂ or ＂wholeness is perfect＂ is exactly the central idea of Gestalt aesthetics. Based on Gestalt＇ s three basic principles, which are Whole, Figure-Ground and Heterogeneous Isomorphism, this paper intends to analyze the transformation and employment of irony in the Chinese translated version of Pride and Prejudice in the perspectives of theme, characterization and language organization to better understand this novel.