發(fā)布時(shí)間：2018-08-30 19:35

【摘要】：莎士比亞戲劇是英國(guó)早期現(xiàn)代文學(xué)的寶庫(kù)。莎劇的成功在很大程度上歸功于莎翁對(duì)各種修辭的熟練運(yùn)用�！豆防滋亍肥巧勘葋喿罡皇⒚慕茏�,《哈姆雷特》中修辭格的使用是一大亮點(diǎn),也是這部作品吸引讀者和觀眾的重要原因。本文討論的修辭格包括隱喻、雙關(guān)、反復(fù)等。通過(guò)分析譯者對(duì)這幾種修辭格的處理,可以看出他們各自的莎劇翻譯思想、精神和風(fēng)格。 當(dāng)代莎士比亞語(yǔ)言研究的前景之一是,從文化視角對(duì)莎士比亞劇作的漢譯進(jìn)行研究,并以此闡釋、印證乃至修正有關(guān)理論。闡釋學(xué)是二十世紀(jì)六十年代廣泛流傳于西方的一種哲學(xué)和文化思潮,它是關(guān)于理解和解釋文本意義的理論和哲學(xué)。該理論聚焦于語(yǔ)言和意義,為翻譯研究提供了新的理論視角。 本文以莎劇《哈姆雷特》漢譯中的主要辭格翻譯作為研究對(duì)象,運(yùn)用描述的方法挖掘不同時(shí)期莎劇翻譯者的譯文背后所體現(xiàn)的意識(shí)形態(tài)、譯者主體性以及翻譯活動(dòng)所受制的歷史文化環(huán)境等,發(fā)現(xiàn)交互文化意識(shí)是辭格翻譯的基礎(chǔ),原語(yǔ)辭格意象的保留與省略受到外部文化環(huán)境的影響,同時(shí)與譯者本身的交互文化意識(shí)有關(guān)。此外,文中對(duì)比分析了田漢、梁實(shí)秋、朱生豪、卞之琳、孫大雨的譯本,解析各家在翻譯過(guò)程中所體現(xiàn)出的交互文化意識(shí),試圖找出各家翻譯的特點(diǎn),并總結(jié)出以下幾點(diǎn)翻譯策略：保留原語(yǔ)文化意象、轉(zhuǎn)換原語(yǔ)文化意象、舍棄原語(yǔ)文化意象等三種翻譯方法。本研究為莎劇作品漢譯本的翻譯語(yǔ)言研究提供了一個(gè)新的視角,將翻譯的內(nèi)部因素即語(yǔ)言本身同外部因素即文化環(huán)境結(jié)合了起來(lái)。同時(shí)以修辭語(yǔ)言為代表,通過(guò)實(shí)例分析,試圖找出翻譯語(yǔ)言所體現(xiàn)出的交互文化,希望能為今后莎劇漢譯的修辭和文化研究提供一些參考。
[Abstract]:Shakespeare's plays are a treasure trove of early modern English literature. Shakespeare's success is largely due to Shakespeare's skillful use of various figures of speech. < Hamlet > is Shakespeare's most famous masterpiece, and the use of figures of speech in Hamlet is a bright spot. It is also an important reason why the work attracts readers and viewers. The figures of speech discussed in this paper include metaphor, puns, repetition and so on. Through analyzing the translators' handling of these figures of speech, we can see their respective ideas, spirit and style of Shakespeare's translation. One of the prospects of contemporary Shakespeare's language study is to study the translation of Shakespeare's plays from the perspective of culture, and to explain and even revise the relevant theories. Hermeneutics is a philosophical and cultural trend of thought widely spread in the West in the 1960s. It is the theory and philosophy of understanding and explaining the meaning of text. This theory focuses on language and meaning and provides a new theoretical perspective for translation studies. Taking the main rhetorical translation in the translation of Shakespeare's Hamlet into Chinese as the object of study, this paper uses descriptive methods to explore the ideology embodied in the translation of Shakespeare's plays in different periods. The translator's subjectivity and the historical and cultural environment restricted by translation activities reveal that the cross-cultural consciousness is the basis of the translation of rhetorical cases, and the retention and omission of the original rhetorical images are influenced by the external cultural environment. At the same time, it is related to the translator's mutual cultural consciousness. In addition, this paper makes a comparative analysis of the translations of Tian Han, Liang Shiqiu, Zhu Shenghao, Bian Zhilin and Sun Rain, and attempts to find out the characteristics of each translation. The translation strategies are summarized as follows: preserving the cultural image of the original language, transforming the cultural image of the original language, and abandoning the cultural image of the original language. This study provides a new perspective for the study of the translation language of Shakespeare's dramas, combining the internal factors of translation, namely, language itself, with external factors, that is, the cultural environment. At the same time, taking rhetorical language as the representative, this paper tries to find out the interactive culture embodied in the translation language through the case study, hoping to provide some references for the rhetorical and cultural studies of Shakespeare's Chinese translation in the future.
【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】：2014
【分類號(hào)】：H315.9;I046

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