本文關(guān)鍵詞：莎劇中Paradox與Oxymoron修辭及其漢譯研究

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【摘要】：Paradox與oxymoron是兩種既有聯(lián)系又有區(qū)別的修辭格,在莎士比亞戲劇中起到至關(guān)重要的作用。近年來,國內(nèi)外學(xué)者對莎劇修辭進(jìn)行了大量研究,成果頗豐,但多集中于雙關(guān)、隱喻等常見辭格,鮮有涉及paradox與oxymoron,故將這兩種修辭結(jié)合起來進(jìn)行較為系統(tǒng)地剖析十分必要。本研究以《哈姆雷特》、《奧賽羅》、《麥克白》、《李爾王》及《羅密歐與朱麗葉》為基本語料來源,分別從paradox與oxymoron的異和同,以及這兩種修辭的漢譯兩個層面進(jìn)行探究。首先,paradox與oxymoron均由兩個對立成分組合而成,表面自相矛盾,實則蘊含哲理；區(qū)別在于paradox是句子層面的修辭,oxymoron是短語層面的修辭。經(jīng)過較為全面、系統(tǒng)地比較二者異同,發(fā)現(xiàn)這兩種修辭在構(gòu)成方式上差異較大。從語法結(jié)構(gòu)層面劃分,paradox可分為單詞相對、短語相對和句子相對三種形式,oxymoron分為名詞+名詞、名詞+of+名詞、動詞+動詞、形容詞+形容詞、形容詞+名詞、動詞+副詞六種類型；然而,這兩種修辭在語義關(guān)系和修辭功能上基本類似,即因果、方式、主從和交融關(guān)系,均具有強(qiáng)化語言、刻畫人物和深化主題的修辭功能,由此提高了這兩種修辭的辨識度,益于我們從深層次感悟其無窮的修辭魅力和藝術(shù)感染力。其次,本研究參照“辭格翻譯方法模型”,選取梁實秋、朱生豪、卞之琳、孫大雨、方平五種代表性譯本,對paradox與oxymoron辭格在不同譯本中的翻譯方法進(jìn)行統(tǒng)計,發(fā)現(xiàn)一五位譯者均傾向J：使用A1類方法(即同時保留原文辭格“修辭格式”和“修辭內(nèi)容”的翻譯方法),在影響這兩種修辭漢譯的程度上,修辭格式大于修辭內(nèi)容,辭格的特點大于譯者的特點。綜上,相信本研究對莎劇語言研究尤其是修辭研究具有積極意義,也希望為相關(guān)研究有一定的啟示。
【關(guān)鍵詞】：paradox oxymoron 莎劇 漢譯
【學(xué)位授予單位】：廣西師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2016
【分類號】：H315.9;I046
【目錄】：

• 摘要3-4
• Abstract4-9
• Chapter 1 Introduction9-13
• 1.1 Background9-10
• 1.2 Objectives10-11
• 1.3 Methodology11
• 1.4 Structure of the thesis11-13
• Chapter 2 Literature Review13-25
• 2.1 Studies on paradox and oxymoron abroad13-16
• 2.1.1 Etymology and definition13-14
• 2.1.2 Relevant researches14-16
• 2.2 Domestic studies on paradox and oxymoron16-25
• 2.2.1 Studies on classifications17-21
• 2.2.1.1 on paradox17-18
• 2.2.1.2 On oxymoron18-19
• 2.2.1.3 Differences between paradox and oxymoron19-21
• 2.2.2 Rhetorical studies21-23
• 2.2.3 Translation studies23-25
• Chapter 3 Similarities and Differences between Paradox and Oxymoron25-44
• 3.1 Differences between paradox and oxymoron25-38
• 3.1.1 Terminology25-27
• 3.1.1.1 Terminologies of paradox25-26
• 3.1.1.2 Terminologies of oxymoron26-27
• 3.1.2 Structures27-38
• 3.1.2.1 Structures of paradox28-34
• 3.1.2.2 Structures of oxymoron34-38
• 3.2 Similarities between paradox and oxymoron38-43
• 3.2.1 Semantic relations38-41
• 3.2.1.1 Cause-effect relation38-39
• 3.2.1.2 Manner relation39
• 3.2.1.3 Principal-subordinate relation39-40
• 3.2.1.4 Blending relation40-41
• 3.2.2 Rhetorical functions41-43
• 3.2.2.1 Strengthening expressive power41
• 3.2.2.2 Portraying characters41-42
• 3.2.2.3 Deepening theme42-43
• 3.3 Summary43-44
• Chapter 4 Chinese Translations of Paradox and Oxymoron in Shakespeare's Plays44-59
• 4.1 Brief survey of "translating methods of rhetorical devices"44-46
• 4.2 Statistics of paradox and oxymoron in Shakespeare's plays46-49
• 4.2.1 Statistical approaches46-47
• 4.2.2 Statistical results47-49
• 4.3 Rhetorical characteristics of paradox and oxymoron and their translations49-53
• 4.3.1 Translation of rhetorical forms49-51
• 4.3.2 Translation of rhetorical contents51-53
• 4.4 Translators' characteristics and translations of paradox and oxymoron53-58
• 4.4.1 Prose translators55-56
• 4.4.2 Poetic translators56-58
• 4.5 Summary58-59
• Chapter 5 Conclusion59-61
• 5.1 Major findings and conclusions59
• 5.2 Limitations and suggestions59-61
• Bibliography61-65
• Publications during the Postgraduate Program65-66
• Acknowledgements66-67

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