莎士比亚戏剧翻译中的意象再现研究
发布时间：2019-03-12 15:39
【摘要】： 莎士比亚戏剧一直堪称世界文学经典,其文学魅力吸引着无数爱好者对其进行研究。莎士比亚戏剧最初是通过汉译本被介绍入中国的。至今一百多年间,许多优秀的译者都尝试对莎士比亚戏剧重新演绎,创作了多套不同风格的汉译本。这为中国读者接触和解读莎士比亚戏剧文本带来了可能性和必要性。在对剧作的解读过程中,有大量意象的汉译非常值得研究。意象承载着丰富的民族文化底蕴和审美底蕴,意象翻译一直是文学翻译中一个难点。不同的汉译本对文本中意象的翻译方法各异,其效果也具有差异。但纵观国内莎士比亚戏剧翻译研究,鲜有对剧中意象翻译深入系统的探讨。 中国古典文论中的意象论是中国古典诗学与美学的重要理念,“言”,“象”,“意”这三个概念之间关系的演变与发展是中国古代语言哲学的核心问题。在古典文论中,这三者的关系可归纳为:“言”明“象”,“象”表“意”,“言”与“象”都为“意”服务,“意”统领“言”与“象”。本文指出,意象翻译的过程可以看作是在源语和目的语之间通过“言”的转化,处理“言”、“象”和“意”之间的关系,实现“象”与“意”的传递。翻译的结果是最直观的评价翻译的标准,本文拟用中国古典意象论,从意象翻译结果来探讨莎士比亚戏剧中意象的汉译。本文作者将两个译本中的意象汉译结果分为四大类:对等,变形,失落以及扩增。本文从两个优秀译本(梁实秋译,1995中国广播电视出版社;朱生豪等译,1998南京译林出版社)中选取八部影响力较大的戏剧(《哈姆雷特》,《李尔王》,《奥赛罗》,《麦克白》,《皆大欢喜》,《威尼斯商人》,《仲夏夜之梦》,《第十二夜》),并通过译本中意象翻译结果的比较,分析如何在翻译中充分实现审美意象的传递和再现。可以认为,运用中国古典文论的意象论来研究莎士比亚剧中意象翻译,为莎士比亚爱好者和翻译研究者提供了一个新的研究视点,也弥补对莎士比亚戏剧文本中意象汉译研究的不足。
[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.
【学位授予单位】：上海交通大学
【学位级别】：硕士
【学位授予年份】：2007
【分类号】：I046
本文编号：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.
【学位授予单位】：上海交通大学
【学位级别】：硕士
【学位授予年份】：2007
【分类号】：I046
【参考文献】
相关期刊论文 前2条
1 吴文安;意象的传译[J];南京社会科学;2003年10期
2 李伟民;中国莎士比亚翻译研究五十年[J];中国翻译;2004年05期
，本文编号：2438916
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