【摘要】：在世界民族加強(qiáng)交流和融合的大潮流下,向國(guó)外受眾傳播中國(guó)傳統(tǒng)文化,對(duì)內(nèi)可增強(qiáng)文化自信力,對(duì)外可增強(qiáng)文化軟實(shí)力�；ヂ�(lián)網(wǎng)社會(huì),多媒體融合的傳播方式越來越普遍,絢爛的視頻和圖片幫助人們更加直觀、全面的了解一個(gè)事物。本文探討的文本傳播是多媒體傳播中的一個(gè)組成部分,也是一種傳統(tǒng)的傳播方式。文本傳播需要讀者的思考和參與,能夠激發(fā)讀者的主動(dòng)性,因此如何充分完整地以文本的形式向外國(guó)讀者介紹中國(guó)戲曲和中國(guó)文化至關(guān)重要。本文的研究對(duì)象是京劇的英譯文本,致力于探討京劇英譯的更優(yōu)模式,最終使京劇英譯文本能夠獨(dú)立承擔(dān)傳播中國(guó)文化的重?fù)?dān)。自1974年國(guó)際符號(hào)學(xué)研究協(xié)會(huì)(IASS)在米蘭召開了第一屆國(guó)際符號(hào)學(xué)大會(huì),符號(hào)學(xué)已經(jīng)成為對(duì)人文科學(xué)產(chǎn)生重大影響的學(xué)科。近年來,符號(hào)學(xué)更是融進(jìn)了語言學(xué)、邏輯學(xué)、哲學(xué)、人類學(xué)、心理學(xué)、社會(huì)學(xué)、生物學(xué)以及傳播學(xué)和信息科學(xué)的方法和研究成果,并應(yīng)用于這些學(xué)科之中。本文從符號(hào)學(xué)視角入手,分析符號(hào)學(xué)視野下的京劇文本的對(duì)外傳播。同時(shí)本文介紹了中西方學(xué)者在符號(hào)學(xué)方面的重要研究成果以及符號(hào)學(xué)應(yīng)用于戲劇、翻譯的研究成果和戲劇翻譯的研究現(xiàn)狀。關(guān)于打漁殺家,筆者提出對(duì)外傳播中需要關(guān)注的幾個(gè)問題,即關(guān)于故事的結(jié)尾、蕭恩殺家行為的合理性、京劇《打漁殺家》的欣賞點(diǎn);通過探討以上幾個(gè)問題,對(duì)《打漁殺家》在英譯時(shí)應(yīng)注意的事項(xiàng)提供參考。接下來對(duì)比《打漁殺家》的四個(gè)譯本,由于四個(gè)譯本風(fēng)格各異,很難用統(tǒng)一的標(biāo)準(zhǔn)進(jìn)行橫向?qū)Ρ?故此,本文擬采取縱向個(gè)案分析,對(duì)每個(gè)譯本自身最大的特色進(jìn)行單獨(dú)的闡釋,只在小結(jié)中結(jié)合一個(gè)文化符號(hào)進(jìn)行橫向比較,希望可以更加全面的呈現(xiàn)各譯本的優(yōu)劣得失。最后提出筆者對(duì)京劇文本的對(duì)外傳播的幾點(diǎn)建議,本文認(rèn)為,劇本不應(yīng)依賴劇場(chǎng)表演而存在,對(duì)外翻譯的劇本尤其如此；對(duì)外傳播中國(guó)戲曲本就任重道遠(yuǎn),而戲曲劇本限于文字和圖片兩種符號(hào)形式,在充分利用兩種表現(xiàn)符號(hào)的基礎(chǔ)上,戲曲文本更應(yīng)該進(jìn)一步挖掘其內(nèi)涵,為外國(guó)讀者提供了解中國(guó)文化、中國(guó)戲曲的新角度新平臺(tái)；最后本文認(rèn)為文本雖然沒有舞臺(tái)表演的直觀效果,但是文本傳播也有著獨(dú)特的優(yōu)勢(shì)：通過文字,讓讀者深思,進(jìn)而了解中國(guó)文化的深刻內(nèi)涵,所以大力支持、深入研究戲曲文化的文本傳播有著重要意義。
[Abstract]:Under the tide of strengthening the communication and integration of the world's nationalities, the dissemination of Chinese traditional culture to foreign audiences can enhance cultural confidence in the world and strengthen the cultural soft power in the outside world. In the Internet society, multimedia fusion is becoming more and more popular, and colorful video and pictures help people to understand a thing more intuitively and comprehensively. The text communication discussed in this paper is an integral part of multimedia communication and a traditional communication mode. Text communication needs readers' thinking and participation, which can stimulate readers' initiative. Therefore, it is very important to introduce Chinese opera and Chinese culture to foreign readers in the form of text. The object of this study is the translation of Peking Opera into English, which is devoted to exploring the better mode of translating Peking Opera into English, so that the translated text of Peking Opera can bear the burden of spreading Chinese culture independently. Since (IASS) held the first International Congress of Semiotics in Milan in 1974, semiotics has become a subject that has great influence on the humanities. In recent years, semiotics has been integrated into the methods and research achievements of linguistics, logic, philosophy, anthropology, psychology, sociology, biology, communication and information science. From the perspective of semiotics, this paper analyzes the transmission of Beijing Opera texts from the perspective of semiotics. At the same time, this paper introduces the important research achievements of Chinese and western scholars in semiotics, the application of semiotics to drama, translation and the present situation of drama translation. As for fishing and killing family, the author puts forward several problems that need to be paid attention to in external communication, that is, about the end of the story, the rationality of Xiao en's behavior of killing the family, and the appreciation points of Beijing Opera "fishing and killing the Family". It provides reference to the matters needing attention in English translation of "fishing and killing Home". Next, comparing the four versions of "fishing and killing the Family", because the four versions have different styles, it is difficult to use uniform standards to carry out horizontal comparisons. Therefore, this paper intends to take a longitudinal case study. In order to show the merits and demerits of each translation, the author makes a separate interpretation of the biggest features of each translation and makes a horizontal comparison with one cultural symbol in the summary. Finally, the author puts forward several suggestions on the external dissemination of Beijing Opera texts. This paper holds that the script should not rely on theatrical performances, especially the scripts translated from the outside, and that the dissemination of Chinese opera abroad has a long way to go. On the basis of making full use of the two symbols, the drama text should dig out its connotation further and provide a new angle and new platform for foreign readers to understand Chinese culture and Chinese opera. Finally, this paper argues that although the text does not have the intuitive effect of stage performance, the text communication also has its unique advantages: through the text, let the reader think deeply, and then understand the profound connotation of Chinese culture, so strongly support, It is of great significance to study the text dissemination of opera culture in depth.
【學(xué)位授予單位】：北京外國(guó)語大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2016
【分類號(hào)】：H315.9;I046;G206

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