本文選題：語音語料庫　切入點(diǎn)：韻律音系學(xué)　出處：《江蘇大學(xué)》2017年碩士論文　論文類型：學(xué)位論文

【摘要】：《長生殿》作為中國四大經(jīng)典戲劇之一,具有極高的藝術(shù)成就,也成為昆曲、京劇的傳統(tǒng)曲目。文獻(xiàn)研究表明,以往對于《長生殿》的研究多集中于戲劇主題和戲劇創(chuàng)作意義等,而對于其翻譯的研究較少,且多著重于翻譯策略或美學(xué)再現(xiàn)方面。戲劇翻譯相關(guān)研究主要關(guān)注戲劇原文與譯文對等、戲劇翻譯作品中語用要素再現(xiàn)和翻譯的文化對比等,而將戲劇翻譯與韻律音系學(xué)結(jié)合的較少。因此,本研究以中國傳統(tǒng)戲劇經(jīng)典《長生殿》的經(jīng)典曲目《定情》和《驚變》為例,結(jié)合韻律音系學(xué)理論與研究方法,分析唐明皇、楊貴妃、高力士三個(gè)主要角色語言的韻律特征,并且比較楊憲益、戴乃迭和許淵沖、許明兩個(gè)英譯本中對這三個(gè)角色語言韻律特征的表現(xiàn),分析韻律特征對人物塑造的影響,探究哪一個(gè)譯本更加適用于舞臺(tái)表演,從而構(gòu)建戲劇翻譯的韻律音系學(xué)評價(jià)體系。為保證研究客觀性,本文采用數(shù)據(jù)驅(qū)動(dòng)的研究方法,選取洪升《長生殿》中《定情》和《驚變》為源語文本,楊憲益、戴乃迭(楊譯)和許淵沖、許明(許譯)的兩個(gè)英譯本為目的語文本,借助語音合成軟件InterPhonic 6.0完成文字-音頻轉(zhuǎn)換。研究選擇時(shí)長、音高和音強(qiáng)作為分析參數(shù),借助Praat 6.0軟件提取文件時(shí)長、最大音高、最小音高、平均音高、最大音強(qiáng)、最小音強(qiáng)。作為數(shù)據(jù)驅(qū)動(dòng)研究,本研究中數(shù)據(jù)差異引導(dǎo)研究關(guān)注點(diǎn),并且根據(jù)數(shù)據(jù)追蹤不同譯本的韻律再現(xiàn)效果,從而構(gòu)建基于韻律音系學(xué)的戲劇翻譯評價(jià)體系。研究結(jié)果表明:(1)在時(shí)長方面,楊譯本三個(gè)人物的唱詞大多比許譯本短,與原文較為一致,更能準(zhǔn)確地再現(xiàn)劇中人物的性格特征和情感基調(diào)。(2)在音高層面上,本研究主要考查了音高起伏度的變化。相比楊譯本,許譯本整體調(diào)域變化最為明顯,更強(qiáng)調(diào)音高大幅變化,益于表現(xiàn)情感起伏;并且音高起伏位置、幅度與原文一致性更高。但也為演員在短時(shí)間內(nèi)再現(xiàn)音高變化增加了困難。(3)音強(qiáng)方面,由于中英文固有的差異,兩個(gè)譯本的音強(qiáng)都比原文低得多,大多只有原文的三分之一至一半。比較而言,楊譯本更接近原文,音強(qiáng)曲折變化更多。(4)在重構(gòu)人物方面,楊譯本的一些表達(dá)與原文更接近,而許譯本對不同角色話語的翻譯具有內(nèi)在一致性。本研究運(yùn)用語料庫手段,以韻律音系學(xué)為理論框架,比較研究中國傳統(tǒng)名劇《長生殿》及其翻譯的韻律特征和戲劇特征,構(gòu)建戲劇翻譯的韻律音系學(xué)評價(jià)體系,對于推動(dòng)中國傳統(tǒng)戲劇及其翻譯研究和中國文化傳播具有重要價(jià)值。
[Abstract]:As one of the four Chinese classical dramas, the Temple of Changsheng has a very high artistic achievement and has also become a traditional repertoire of Beijing Opera. In the past, most of the studies focused on the theme of drama and the significance of drama creation, but less on its translation. The studies on drama translation mainly focus on the equivalence between the original drama and the target text, the reproduction of pragmatic elements in drama translation and the cultural contrast of translation. Therefore, this study takes the classical Chinese drama classic "Changsheng Dian" as an example, combining with the theory and research methods of rhyme phonology, to analyze Tang Minghuang. The prosodic characteristics of Yang Guifei and Golius' three main character languages are compared, and the influence of prosodic features on the characterization of characters is analyzed by comparing the prosodic features of the three characters in the English versions of Yang Xianyi, Dai Nadie and Xu Yuanchong, and Xu Ming's two English versions. In order to ensure the objectivity of the study, this paper adopts a data-driven approach to explore which version is more suitable for stage performance, thus establishing a rhythmic phonological evaluation system for drama translation. Hong Sheng, the Temple of Changsheng, selected the two English translation versions of Yang Xianyi, Dai Naidi (translated by Yang) and Xu Yuanchong, Xu Ming (translated by Xu) as the target language. The text to audio conversion is completed with the aid of InterPhonic 6.0. Time, pitch and intensity are selected as the analysis parameters, and the file duration, maximum pitch, minimum pitch, average pitch and maximum sound intensity are extracted with the help of Praat 6.0 software. As a data-driven study, this study focuses on data difference guidance, and tracks the prosodic effects of different translations according to the data. The results show that in terms of the length of time, most of the lyrics of the three characters in Yang's version are shorter than that in Xu's version, which is consistent with the original text. In the aspect of pitch, this study mainly examines the variation of pitch fluctuation. Compared with Yang's translation, the change of the overall tone domain of Xu version is the most obvious, and the significant change of pitch is emphasized. It is beneficial to express emotional fluctuation; and the position of pitch fluctuation is more consistent with the original text. But it also increases the difficulty in reproducing the change of pitch in a short period of time, due to the inherent differences between Chinese and English. The sound strength of the two versions is much lower than that of the original text, and most of them are only 1/3 to half of the original text. In comparison, Yang's version is closer to the original text, and the sound intensity and twists and turns change more. 4) in terms of reconstructing characters, some of the expressions of Yang's version are closer to the original text. The present study uses corpus method to study the rhythmic and dramatic features of Chinese traditional drama Changsheng Dian and its translation by means of corpus and using prosody phonology as the theoretical framework. It is of great value to construct the evaluation system of prosody phonology in drama translation for promoting the study of Chinese traditional drama and its translation as well as the spread of Chinese culture.
【學(xué)位授予單位】：江蘇大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：H315.9;I046

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