體驗(yàn)認(rèn)知視角下莎劇和曹劇“風(fēng)”“雨”隱喻及其翻譯研究
發(fā)布時(shí)間：2018-08-25 19:37
【摘要】：人們基于對(duì)天氣的身體體驗(yàn),形成了天氣隱喻來(lái)理解和構(gòu)建所處的世界。曹禺和莎士比亞作為中英著名的劇作家,在戲劇中大量地運(yùn)用“風(fēng)”“雨”意象,且常以比喻形式出現(xiàn)�；谇叭搜芯�,本文以莎士比亞四大悲劇和曹禺的《雷雨》、《日出》和《原野》為文本,利用語(yǔ)料庫(kù)軟件antconc3.2.Ow對(duì)劇本中“風(fēng)”“雨”語(yǔ)句進(jìn)行統(tǒng)計(jì),并對(duì)“風(fēng)”“雨”比喻進(jìn)行了語(yǔ)言層面的修辭分析。研究發(fā)現(xiàn):從語(yǔ)言表現(xiàn)形式來(lái)看,莎劇和曹劇中“風(fēng)”“雨”比喻的語(yǔ)言表達(dá)形式有明喻、隱喻和借喻三種辭格。這三種比喻辭格的具體語(yǔ)言構(gòu)成方式在莎劇和曹劇中呈現(xiàn)出各自不同的特點(diǎn),總的來(lái)說(shuō),莎士比亞比曹禺在“風(fēng)”“雨”比喻的運(yùn)用上更靈活多變。根據(jù)認(rèn)知語(yǔ)言學(xué)的觀點(diǎn),比喻不僅是一種修辭手段,更是一種認(rèn)知方式。本文從體驗(yàn)認(rèn)知角度對(duì)莎劇和曹劇中“風(fēng)”“雨”隱喻進(jìn)行了認(rèn)知分析,探討“風(fēng)”“雨”映射的共性和差異,研究發(fā)現(xiàn):就隱喻映射而言,莎劇和曹劇中存在大量借助“風(fēng)”“雨”意象(源域)投射到劇作家關(guān)注的目標(biāo)域的實(shí)例,這些目標(biāo)域包括:行為域,如“風(fēng)”喻人的行為舉止(MANNER IS WIND)等;社會(huì)現(xiàn)象域,如“風(fēng)”喻處境或勢(shì)頭(SITUATION/TRENDISWIND)等;人類情感域,如“雨”喻眼淚、悲痛、恥辱(TEAR,SORE/BLAME IS RAIN)等。同時(shí),“風(fēng)”和“雨”各種特性在概念化的過(guò)程中,隱喻投射在語(yǔ)言表達(dá)上呈現(xiàn)出一些差異性。莎劇和曹劇各有獨(dú)特的隱喻投射,莎劇中獨(dú)特的隱喻有:RUMOR IS WIND;MUSIC IS WIND;SORE/SHAME IS RAIN。曹劇中獨(dú)特的隱喻有:TIREDNESS IS WIND;SHOCK/POWER IS WIND;POVERTY IS WIND�？偟膩�(lái)說(shuō),莎劇和曹劇中“風(fēng)”和“雨”隱喻體現(xiàn)了認(rèn)知具有普遍性和文化獨(dú)特性。概念隱喻理論對(duì)翻譯研究有著很強(qiáng)的解釋力,并在翻譯研究中得以應(yīng)用。概念隱喻是從一個(gè)概念域到另一個(gè)概念域的映射,概念隱喻視角下隱喻的翻譯觀也可以理解為從源域(源語(yǔ))到目標(biāo)域(目標(biāo)語(yǔ))的一種映射。從概念隱喻翻譯觀出發(fā),本文對(duì)朱生豪、梁實(shí)秋、卞之琳和方平的莎劇譯本及《日出》(巴恩斯和王佐良合譯)和《雷雨》(巴恩斯譯)英譯本進(jìn)行客觀描述,就“風(fēng)”“雨”隱喻翻譯歸納三種方法:完全對(duì)應(yīng)翻譯法、部分對(duì)應(yīng)翻譯法和完全轉(zhuǎn)換翻譯法。本研究是一次交叉學(xué)科的嘗試,從體驗(yàn)認(rèn)知角度出發(fā),將概念隱喻和修辭、翻譯理論相結(jié)合,系統(tǒng)研究莎劇和曹劇的“風(fēng)”“雨”比喻、認(rèn)知機(jī)制和翻譯方法,以期為莎劇和曹劇的語(yǔ)言和翻譯研究探索新路子。
[Abstract]:Based on the physical experience of the weather, people form the weather metaphor to understand and construct the world in which they live. Cao Yu and Shakespeare, as famous playwrights in China and England, used the images of "wind" and "rain" in their plays, often in the form of metaphors. Based on previous studies, this paper takes four tragedies of Shakespeare and Cao Yu's Thunder Storm, Sunrise and Field as texts, and makes use of the corpus software antconc3.2.Ow to make statistics on the sentences of "Wind" and "Rain" in the script. And the metaphor of "Wind" and "Rain" is rhetorically analyzed at the linguistic level. From the perspective of linguistic expressions, the linguistic expressions of the metaphors of "Feng" and "Rain" in Shakespeare's and Cao's plays are metaphorical, metaphorical and metaphorical. The specific linguistic forms of these three figurative figures of speech show different characteristics in Shakespeare's plays and Cao's plays. In general, Shakespeare is more flexible than Cao Yu in the use of the metaphor of "wind" and "rain". According to cognitive linguistics, metaphor is not only a rhetorical device, but also a cognitive way. From the perspective of experiential cognition, this paper makes a cognitive analysis of the metaphors of "Wind" and "Rain" in Shakespeare's plays and Cao's plays, and probes into the generality and difference of the mapping of "Wind" and "Rain", and finds that: as far as metaphorical mapping is concerned, There are a large number of examples in Shakespeare's and Cao's dramas that project the images of "wind" and "rain" (source domain) to the target domains concerned by playwrights. These target domains include: behavioral domains, such as "wind" metaphors' behavior (MANNER IS WIND), social phenomenon domain, etc. For example, "wind" refers to situation or momentum (SITUATION/TRENDISWIND); human emotional domain, such as rain, tears, grief, TEAR,SORE/BLAME IS RAIN), etc. At the same time, in the process of conceptualization of the characteristics of "wind" and "rain", metaphorical projection presents some differences in language expression. Shakespeare and Cao have their own unique metaphorical projections, and the unique metaphors in Sha are: RUMOR IS WIND;MUSIC IS WIND;SORE/SHAME IS RAIN.. The unique metaphors of Cao's play are: TIREDNESS IS WIND;SHOCK/POWER IS WIND;POVERTY IS WIND. Generally speaking, the metaphors of "Wind" and "Rain" in Shakespeare's and Cao's novels embody the universality and cultural uniqueness of cognition. Conceptual metaphor theory has a strong explanatory power in translation studies and has been applied in translation studies. Conceptual metaphor is a mapping from one conceptual domain to another. From the perspective of conceptual metaphor, metaphor translation can also be understood as a mapping from source domain (source language) to target domain (target language). From the perspective of conceptual metaphor translation, this paper gives an objective description of the translation of Shakespeare's plays by Zhu Shenghao, Liang Shiqiu, Bian Zhilin and Fang Ping, as well as the English versions of Sunrise (translated by Barnes and Wang Zuoliang) and thunderstorm (translated by Barnes). In this paper, three methods of metaphorical translation of "Wind" and "Rain" are summarized: complete correspondence translation, partial correspondence translation and complete conversion translation. This study is a cross-disciplinary attempt. From the perspective of experiential cognition, this study combines conceptual metaphor, rhetoric and translation theory to systematically study the metaphor, cognitive mechanism and translation methods of "Wind" and "Rain" in Shakespeare's and Cao's plays. In order to explore a new way for the study of the language and translation of Shakespeare and Cao dramas.
【學(xué)位授予單位】：廣西師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：H315.9
本文編號(hào)：2203894
[Abstract]:Based on the physical experience of the weather, people form the weather metaphor to understand and construct the world in which they live. Cao Yu and Shakespeare, as famous playwrights in China and England, used the images of "wind" and "rain" in their plays, often in the form of metaphors. Based on previous studies, this paper takes four tragedies of Shakespeare and Cao Yu's Thunder Storm, Sunrise and Field as texts, and makes use of the corpus software antconc3.2.Ow to make statistics on the sentences of "Wind" and "Rain" in the script. And the metaphor of "Wind" and "Rain" is rhetorically analyzed at the linguistic level. From the perspective of linguistic expressions, the linguistic expressions of the metaphors of "Feng" and "Rain" in Shakespeare's and Cao's plays are metaphorical, metaphorical and metaphorical. The specific linguistic forms of these three figurative figures of speech show different characteristics in Shakespeare's plays and Cao's plays. In general, Shakespeare is more flexible than Cao Yu in the use of the metaphor of "wind" and "rain". According to cognitive linguistics, metaphor is not only a rhetorical device, but also a cognitive way. From the perspective of experiential cognition, this paper makes a cognitive analysis of the metaphors of "Wind" and "Rain" in Shakespeare's plays and Cao's plays, and probes into the generality and difference of the mapping of "Wind" and "Rain", and finds that: as far as metaphorical mapping is concerned, There are a large number of examples in Shakespeare's and Cao's dramas that project the images of "wind" and "rain" (source domain) to the target domains concerned by playwrights. These target domains include: behavioral domains, such as "wind" metaphors' behavior (MANNER IS WIND), social phenomenon domain, etc. For example, "wind" refers to situation or momentum (SITUATION/TRENDISWIND); human emotional domain, such as rain, tears, grief, TEAR,SORE/BLAME IS RAIN), etc. At the same time, in the process of conceptualization of the characteristics of "wind" and "rain", metaphorical projection presents some differences in language expression. Shakespeare and Cao have their own unique metaphorical projections, and the unique metaphors in Sha are: RUMOR IS WIND;MUSIC IS WIND;SORE/SHAME IS RAIN.. The unique metaphors of Cao's play are: TIREDNESS IS WIND;SHOCK/POWER IS WIND;POVERTY IS WIND. Generally speaking, the metaphors of "Wind" and "Rain" in Shakespeare's and Cao's novels embody the universality and cultural uniqueness of cognition. Conceptual metaphor theory has a strong explanatory power in translation studies and has been applied in translation studies. Conceptual metaphor is a mapping from one conceptual domain to another. From the perspective of conceptual metaphor, metaphor translation can also be understood as a mapping from source domain (source language) to target domain (target language). From the perspective of conceptual metaphor translation, this paper gives an objective description of the translation of Shakespeare's plays by Zhu Shenghao, Liang Shiqiu, Bian Zhilin and Fang Ping, as well as the English versions of Sunrise (translated by Barnes and Wang Zuoliang) and thunderstorm (translated by Barnes). In this paper, three methods of metaphorical translation of "Wind" and "Rain" are summarized: complete correspondence translation, partial correspondence translation and complete conversion translation. This study is a cross-disciplinary attempt. From the perspective of experiential cognition, this study combines conceptual metaphor, rhetoric and translation theory to systematically study the metaphor, cognitive mechanism and translation methods of "Wind" and "Rain" in Shakespeare's and Cao's plays. In order to explore a new way for the study of the language and translation of Shakespeare and Cao dramas.
【學(xué)位授予單位】：廣西師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：H315.9
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