莎士比亞戲劇翻譯中的意象再現(xiàn)研究
發(fā)布時(shí)間：2019-03-12 15:39
【摘要】： 莎士比亞戲劇一直堪稱世界文學(xué)經(jīng)典,其文學(xué)魅力吸引著無數(shù)愛好者對(duì)其進(jìn)行研究。莎士比亞戲劇最初是通過漢譯本被介紹入中國(guó)的。至今一百多年間,許多優(yōu)秀的譯者都嘗試對(duì)莎士比亞戲劇重新演繹,創(chuàng)作了多套不同風(fēng)格的漢譯本。這為中國(guó)讀者接觸和解讀莎士比亞戲劇文本帶來了可能性和必要性。在對(duì)劇作的解讀過程中,有大量意象的漢譯非常值得研究。意象承載著豐富的民族文化底蘊(yùn)和審美底蘊(yùn),意象翻譯一直是文學(xué)翻譯中一個(gè)難點(diǎn)。不同的漢譯本對(duì)文本中意象的翻譯方法各異,其效果也具有差異。但縱觀國(guó)內(nèi)莎士比亞戲劇翻譯研究,鮮有對(duì)劇中意象翻譯深入系統(tǒng)的探討。 中國(guó)古典文論中的意象論是中國(guó)古典詩學(xué)與美學(xué)的重要理念,“言”,“象”,“意”這三個(gè)概念之間關(guān)系的演變與發(fā)展是中國(guó)古代語言哲學(xué)的核心問題。在古典文論中,這三者的關(guān)系可歸納為:“言”明“象”,“象”表“意”,“言”與“象”都為“意”服務(wù),“意”統(tǒng)領(lǐng)“言”與“象”。本文指出,意象翻譯的過程可以看作是在源語和目的語之間通過“言”的轉(zhuǎn)化,處理“言”、“象”和“意”之間的關(guān)系,實(shí)現(xiàn)“象”與“意”的傳遞。翻譯的結(jié)果是最直觀的評(píng)價(jià)翻譯的標(biāo)準(zhǔn),本文擬用中國(guó)古典意象論,從意象翻譯結(jié)果來探討莎士比亞戲劇中意象的漢譯。本文作者將兩個(gè)譯本中的意象漢譯結(jié)果分為四大類:對(duì)等,變形,失落以及擴(kuò)增。本文從兩個(gè)優(yōu)秀譯本(梁實(shí)秋譯,1995中國(guó)廣播電視出版社;朱生豪等譯,1998南京譯林出版社)中選取八部影響力較大的戲劇(《哈姆雷特》,《李爾王》,《奧賽羅》,《麥克白》,《皆大歡喜》,《威尼斯商人》,《仲夏夜之夢(mèng)》,《第十二夜》),并通過譯本中意象翻譯結(jié)果的比較,分析如何在翻譯中充分實(shí)現(xiàn)審美意象的傳遞和再現(xiàn)�？梢哉J(rèn)為,運(yùn)用中國(guó)古典文論的意象論來研究莎士比亞劇中意象翻譯,為莎士比亞愛好者和翻譯研究者提供了一個(gè)新的研究視點(diǎn),也彌補(bǔ)對(duì)莎士比亞戲劇文本中意象漢譯研究的不足。
[Abstract]:Shakespeare's plays have always been called world literary classics, whose literary charm attracts countless enthusiasts to study them. Shakespeare's plays were first introduced into China through a Chinese translation. For more than a hundred years, many excellent translators have tried to re-interpret Shakespeare's plays and have created many sets of Chinese translations of different styles. This brings the possibility and necessity for Chinese readers to contact and interpret Shakespeare's plays. In the interpretation of the drama, there are a lot of images in Chinese translation is worth studying. Image carries rich national culture and aesthetic connotation. Image translation has always been a difficult point in literary translation. Different Chinese versions have different translation methods of images in the text, and their effects are also different. However, throughout the study of Shakespeare's dramatic translation in China, few in-depth and systematic studies of image translation in Shakespeare's plays have been made. Image theory in Chinese classical literary theory is an important concept of Chinese classical poetics and aesthetics. The evolution and development of the relations among the three concepts of "speech", "image" and "meaning" are the core issues of Chinese ancient language philosophy. In classical literary theory, the relationship among them can be summed up as follows: "Yan" Ming "," Xiang "express", "Yan" and "Xiang" serve "meaning", and "Yi" governs "Yan" and "Xiang". This paper points out that the process of image translation can be regarded as the process of realizing the transmission of "image" and "meaning" through the transformation of "speech" between the source language and the target language to deal with the relationship among "speech", "image" and "meaning". The result of translation is the most intuitive criterion for evaluating translation. This paper attempts to explore the Chinese translation of images in Shakespeare's plays from the perspective of Chinese classical imagery theory. The author classifies the results of Chinese translation of images into four categories: equivalence, deformation, loss and amplification. This paper is based on two excellent translations (translated by Liang Shiqiu, 1995 China Radio and Television Publishing House); Zhu Shenghao et al., 1998 Nanjing Yilin Publishing House selected eight plays with great influence (Hamlet, King Lear, Othello, Macbeth, Joy, Merchant of Venice, Dream of Midsummer Night). Through the comparison of the results of image translation in the translation, this paper analyzes how to fully realize the transmission and reproduction of aesthetic images in translation. It can be concluded that using the imagery theory of Chinese classical literary theory to study image translation in Shakespeare's plays provides a new research perspective for Shakespeare enthusiasts and translation researchers. It also makes up for the deficiency of the study of Chinese translation of images in Shakespeare's dramatic texts.
【學(xué)位授予單位】：上海交通大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2007
【分類號(hào)】：I046
本文編號(hào)：2438916
[Abstract]:Shakespeare's plays have always been called world literary classics, whose literary charm attracts countless enthusiasts to study them. Shakespeare's plays were first introduced into China through a Chinese translation. For more than a hundred years, many excellent translators have tried to re-interpret Shakespeare's plays and have created many sets of Chinese translations of different styles. This brings the possibility and necessity for Chinese readers to contact and interpret Shakespeare's plays. In the interpretation of the drama, there are a lot of images in Chinese translation is worth studying. Image carries rich national culture and aesthetic connotation. Image translation has always been a difficult point in literary translation. Different Chinese versions have different translation methods of images in the text, and their effects are also different. However, throughout the study of Shakespeare's dramatic translation in China, few in-depth and systematic studies of image translation in Shakespeare's plays have been made. Image theory in Chinese classical literary theory is an important concept of Chinese classical poetics and aesthetics. The evolution and development of the relations among the three concepts of "speech", "image" and "meaning" are the core issues of Chinese ancient language philosophy. In classical literary theory, the relationship among them can be summed up as follows: "Yan" Ming "," Xiang "express", "Yan" and "Xiang" serve "meaning", and "Yi" governs "Yan" and "Xiang". This paper points out that the process of image translation can be regarded as the process of realizing the transmission of "image" and "meaning" through the transformation of "speech" between the source language and the target language to deal with the relationship among "speech", "image" and "meaning". The result of translation is the most intuitive criterion for evaluating translation. This paper attempts to explore the Chinese translation of images in Shakespeare's plays from the perspective of Chinese classical imagery theory. The author classifies the results of Chinese translation of images into four categories: equivalence, deformation, loss and amplification. This paper is based on two excellent translations (translated by Liang Shiqiu, 1995 China Radio and Television Publishing House); Zhu Shenghao et al., 1998 Nanjing Yilin Publishing House selected eight plays with great influence (Hamlet, King Lear, Othello, Macbeth, Joy, Merchant of Venice, Dream of Midsummer Night). Through the comparison of the results of image translation in the translation, this paper analyzes how to fully realize the transmission and reproduction of aesthetic images in translation. It can be concluded that using the imagery theory of Chinese classical literary theory to study image translation in Shakespeare's plays provides a new research perspective for Shakespeare enthusiasts and translation researchers. It also makes up for the deficiency of the study of Chinese translation of images in Shakespeare's dramatic texts.
【學(xué)位授予單位】：上海交通大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2007
【分類號(hào)】：I046
【參考文獻(xiàn)】
相關(guān)期刊論文 前2條
1 吳文安;意象的傳譯[J];南京社會(huì)科學(xué);2003年10期
2 李偉民;中國(guó)莎士比亞翻譯研究五十年[J];中國(guó)翻譯;2004年05期
，本文編號(hào)：2438916
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