本文選題：中國(guó)新時(shí)期話(huà)劇 + 美國(guó)話(huà)劇��； 參考：《湖南大學(xué)》2014年碩士論文

【摘要】：本文運(yùn)用比較文學(xué)形象學(xué)的理論，關(guān)注新時(shí)期以來(lái)劇作家們對(duì)美國(guó)這個(gè)“他者”形象的想象和建構(gòu)，并對(duì)譯介到中國(guó)的當(dāng)代美國(guó)話(huà)劇進(jìn)行歸類(lèi)梳理，對(duì)譯者選擇這些話(huà)劇的原因以及話(huà)劇中人物形象呈現(xiàn)出來(lái)的變化進(jìn)行探究。當(dāng)代形象學(xué)研究在注重他者形象與自我形象的互動(dòng)關(guān)系時(shí)，更加側(cè)重于形象創(chuàng)造主體的作用，同時(shí)，也強(qiáng)調(diào)要從文本中走出來(lái)，注重對(duì)創(chuàng)造了這個(gè)形象的文化體系的研究，特別注重研究社會(huì)對(duì)某一異國(guó)形象的集體闡釋。從形象學(xué)的角度切入來(lái)研究話(huà)劇中的美國(guó)形象，不僅可以從一個(gè)獨(dú)特視角來(lái)解讀中國(guó)當(dāng)代的話(huà)劇文學(xué)，有利于加深我們對(duì)作者及其作品的認(rèn)識(shí)，還能挖掘出劇作家個(gè)人所屬文化身份背后的思想情感碰撞，，以及這些形象背后隱藏文化和現(xiàn)實(shí)意義，進(jìn)而強(qiáng)化我們對(duì)自身主體的認(rèn)識(shí)。 在意識(shí)形態(tài)視野下的美國(guó)人和美國(guó)較多以負(fù)面形象出現(xiàn)在話(huà)劇中。究其原因，可分為外部和內(nèi)部?jī)蓚�(gè)方面：外部世界的影響可以從新時(shí)期以來(lái)不斷變化的時(shí)代背景和國(guó)內(nèi)復(fù)雜的政治環(huán)境來(lái)看，內(nèi)心世界的影響則來(lái)源于劇作家作為中國(guó)知識(shí)分子自“五四”以來(lái)對(duì)于國(guó)家貧弱而產(chǎn)生的一種深沉的救亡意識(shí)，以及對(duì)于中國(guó)傳統(tǒng)文化和價(jià)值觀念的堅(jiān)守。 80年代中后期以來(lái)，城市和鄉(xiāng)村的經(jīng)濟(jì)改革進(jìn)一步深入，金錢(qián)、財(cái)富以及由此帶來(lái)的種種問(wèn)題似乎都已經(jīng)成為了一個(gè)繞不開(kāi)的話(huà)題。劇作家對(duì)于美國(guó)形象的構(gòu)建呈現(xiàn)出比較矛盾的態(tài)度，塑造了關(guān)于“金錢(qián)”美國(guó)的雙重想象——即在冰冷的金錢(qián)關(guān)系構(gòu)筑下的資本主義國(guó)家和物質(zhì)富足、文化先進(jìn)、精神自由的夢(mèng)想之地。 除了中國(guó)劇作家的原創(chuàng)作品，中國(guó)話(huà)劇舞臺(tái)上還大量搬演了美國(guó)的話(huà)劇作品，尤以第二次世界大戰(zhàn)以后的美國(guó)戲劇數(shù)量最多。對(duì)新時(shí)期以來(lái)中國(guó)譯者更多選擇譯介美國(guó)話(huà)劇的原因以及這些話(huà)劇反映出來(lái)的譯者主體性和當(dāng)代中國(guó)的文化社會(huì)語(yǔ)境特點(diǎn)進(jìn)行分析，可得出結(jié)論：任何對(duì)他者的觀照都是為了更好地反思自我，通過(guò)對(duì)美國(guó)當(dāng)代話(huà)劇的中譯本的考察，是為了在參照中回歸對(duì)我們自身的認(rèn)識(shí)，是我們反思和重新認(rèn)識(shí)自我，并使我們的文化得到更新的重要途徑。
[Abstract]:Based on the theory of comparative literature, this paper focuses on the imagination and construction of the "other" image of the United States by playwrights in the new period, and classifies the contemporary American drama translated into China. This paper probes into the reasons for the translator's choice of these plays and the changes in the characters in the drama. While paying more attention to the interaction between the image of the other and the self-image, the study of contemporary imageology pays more attention to the role of the subject of creating the image, at the same time, it also emphasizes that we should step out of the text and pay attention to the study of the cultural system that created the image. Special attention is paid to the collective interpretation of the image of a foreign country by society. To study the American image in modern drama from the perspective of imageology, we can not only interpret the contemporary Chinese drama literature from a unique perspective, but also deepen our understanding of the author and his works. It can also dig out the ideological and emotional collision behind the personal cultural identity of the playwright, and the hidden cultural and practical significance behind these images, thus strengthening our understanding of our own subject. In the ideological perspective, Americans and the United States tend to appear in a negative image in the drama. The reasons can be divided into external and internal aspects: the influence of the outside world can be seen from the changing background of the times and the complex domestic political environment since the new era. The influence of the inner world comes from a deep sense of national salvation which the playwright, as a Chinese intellectual, has had since the May 4th Movement for the poor and weak of the country. And the adherence to Chinese traditional culture and values. Since the late 1980s, economic reform in cities and villages has gone further. Money, Wealth and its problems seem to have become an inextricable topic. The playwright presents a more contradictory attitude towards the construction of the image of the United States, shaping the double imagination about "money" of the United States-that is, capitalist countries and material prosperity, advanced in culture, built under the cold relationship of money. A land of dreams of spiritual freedom. In addition to the original works of Chinese playwrights, there are also a large number of American dramas on the stage of Chinese dramas, especially after the second World War. This paper analyzes the reasons why Chinese translators have chosen to translate American drama more frequently since the new era, and the translator's subjectivity reflected by these plays and the cultural and social context characteristics of contemporary China. It can be concluded that any reflection of the other is for the sake of better self-reflection, and through the examination of the Chinese translation of the contemporary American drama, it is to return to our own understanding in reference, and to reflect and re-understand ourselves. And make our culture get the important way of renewal.
【學(xué)位授予單位】：湖南大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類(lèi)號(hào)】：I106.3

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