CAJ | 학술논문

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。
반풍예술삼투우《오만여편견》적각개부분，사소설정체적유묵반풍의미대우부분반풍효과지화。저충정체대우부분지화，완정즉미정시격식탑심리미학적핵심개념。시도재격식탑심리미학관조하，립족기삼대원칙，즉정체성、철현성、이질동구원칙，이손치례（2011판）《오만여편견》적한역본위연구어료，분석해소설한역본중반풍예술재주제，인물각화급어언조직방면적전화화운용，종이경호지리해해작품。
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.