本文選題：《陰道的獨(dú)白》 + 翻譯等值�。� 參考：《暨南大學(xué)》2009年碩士論文

【摘要】： “翻譯等值”是翻譯,特別是文學(xué)翻譯中一個(gè)極其重要的概念。在翻譯文學(xué)作品時(shí),有人主張“忠實(shí)”,也有人主張“神似不求形似”。不同體裁的文本要求不同種類的翻譯策略和不同程度的翻譯等值,對譯者而言尋求其中的平衡點(diǎn)至關(guān)重要。本文探求的正是在翻譯像《陰道的獨(dú)白》這類涉及敏感話題的話劇時(shí),譯者該如何尋找這個(gè)平衡點(diǎn)。 話劇是一種特殊的文學(xué)體裁,它主要用于舞臺表演,對觀眾產(chǎn)生直接而且強(qiáng)烈的影響。因此觀眾是話劇中不可或缺的參與者。譯者在翻譯此類體裁的文本時(shí)首先要考慮目的語觀眾的“接受力",為了達(dá)到最佳語境效果,譯者首先要對源文本有所選擇。 語域的三個(gè)變量為語場,語式和語旨。語場與概念元功能相聯(lián)系,由及物系統(tǒng)體現(xiàn);語式與篇章元功能相聯(lián)系,由主位系統(tǒng)體現(xiàn);語旨與人際元功能相聯(lián)系,由語氣和情態(tài)系統(tǒng)體現(xiàn)。因此,及物系統(tǒng),主位系統(tǒng)和情態(tài)系統(tǒng)分別是語場等值,語式等值和語旨等值的風(fēng)向標(biāo)。 通過對《陰道的獨(dú)白》原文和兩個(gè)譯本的分析比較,本文得出的結(jié)論是:話劇這類體裁的主要社會目的是喚起觀眾與演員之間的共鳴,相對其它兩個(gè)元功能而言,表示人際意義的人際元功能在此類體裁中占統(tǒng)治地位。 第一,譯文保留原文的及物模式和詞匯選擇可以實(shí)現(xiàn)語場等值;如果譯文改變原文的及物模式或詞匯選擇,對翻譯質(zhì)量的評價(jià)則要上升到社會目的層面考慮,只要達(dá)到同樣的社會目的,所做的改變就是可以接受的。第二,語式等值同語場等值一樣,在達(dá)到相同的社會目的的前提下,也可以通過保留或者改變原文的主位模式獲得。第三,語旨涉及的是人際元功能所表達(dá)的情態(tài)模式和語篇情感色彩,在做《陰道的獨(dú)白》這類敏感話劇文本的翻譯時(shí),任何細(xì)微的改變都可能引起目的語觀眾情感和反應(yīng)的改變,所以譯者要盡量忠實(shí)于原文的情態(tài)模式。
[Abstract]:Translation equivalence is an extremely important concept in translation, especially in literary translation. In the translation of literary works, some people advocate faithfulness, others argue that the gods do not seek likeness. Different genres of texts require different translation strategies and different levels of translation equivalence. This paper explores how translators should find this balance when translating drama involving sensitive topics such as vagina monologue. Drama is a special literary genre, it is mainly used for stage performance, which has a direct and strong impact on the audience. Therefore, the audience is an indispensable participant in the drama. In order to achieve the best contextual effect, the translator should first choose the source text. The three variables of register are field, form and tenor. Field is related to conceptual metafunctions, embodied by transitive system; form is related to textual metafunctions, embodied by thematic system; tenor is related to interpersonal metafunctions, and reflected by mood and modality system. Therefore, transitive system, thematic system and modal system are wind vane of field equivalence, verbal equivalence and tenor equivalence, respectively. Based on the analysis and comparison of the original version of "the vagina monologue" and the two versions, this paper draws the conclusion that the main social purpose of the genre of drama is to arouse the resonance between the audience and the actors, as opposed to the other two metafunctions. Interpersonal metafunctions, which represent interpersonal meaning, dominate such genres. First, the transitive mode and lexical choice of the original text can achieve field equivalence. If the translation changes the transitive mode or lexical choice of the original text, the evaluation of translation quality should be considered at the social purpose level. As long as the same social goals are achieved, the changes made are acceptable. Second, linguistic equivalence, like field equivalence, can also be obtained by retaining or changing the thematic pattern of the original text on the premise of achieving the same social purpose. Thirdly, tenor refers to the modal pattern and discourse emotion expressed by interpersonal metafunctions. In translating sensitive drama texts such as "vagina monologue", Any minor change may cause emotional and reaction changes in the target audience, so the translator should try to be faithful to the modal model of the original text.
【學(xué)位授予單位】：暨南大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2009
【分類號】：I046;H059

【參考文獻(xiàn)】

相關(guān)期刊論文 前1條

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本文編號：1781315