从接受美学角度看戏剧翻译策略
发布时间：2018-07-25 09:06
【摘要】： 当代中外译坛上,围绕着“可表演性”问题,戏剧翻译研究界主要存在文本中心论和表演中心论两大理论流派。本论文作者认为,在对翻译剧本进行评价和衡量时,文本和表演效果两个方面具有同样的重要性,也就是说,除剧本翻译质量之外,剧本的接受因素也是不容忽视的。从接受角度来看,戏剧文本的译者为第一接受者(原作接受者),而观众则是最终接受者(译作和舞台效果接受者),因此,在研究过程中,本论文拟将接受美学理论引入讨论,将两个层面上接受因素加以整合,也即把戏剧文本及其接受者(译者)和译作及表演的接受者(观众)两方面的探讨结合起来,并将探讨的重点集中于后一种接受因素。作者指出,在戏剧文本翻译过程中,理解自然为第一要素,但与此同时,也不能忽视与观众接受效果密切相关的表达方面。 本论文包括五部分内容。在引言部分,作者简略回顾了中西方戏剧翻译领域出现的主要论题和研究方法,进而提出了将接受美学理论引入本研究的重要意义。接下来作者对戏剧和接受美学理论进行了较为详细的概述,第一章归纳并分析了戏剧和戏剧语言的主要特征,并对某些戏剧翻译理论进行了文献综述,基于理据充分的综述与分析,作者在第二章试图将接受美学理论引入研究,从对接受美学理论的系统归纳、疏理与讨论入手,探讨了接受美学理论之于戏剧翻译理论上的借鉴意义。第三章为实证分析部分,作者从接受美学的角度对《日出》和《雷雨》两个剧本英译过程中所涉及到的接受问题进行了详细的论证,并在此基础上提出了基于语言结构与修辞特征分析的可行的戏剧翻译策略与翻译方法。结论部分中,作者重申了接受美学理论之于戏剧翻译研究的适用性和重要意义,抽丝剥茧的梳理出本文提出的各种戏剧翻译策略和技巧,并就本研究存在的局限性作了简要说明。 如果说本论文尚有某些亮点的话,那就是作者将接受美学这一文艺批评理论运用到了戏剧翻译的理论探讨,并试图为戏剧翻译者提出一些具有借鉴意义的翻译策略。作者认为,尽管戏剧翻译理论远未形成完整的体系,将接受美学运用于翻译研究也还处于初始阶段,但毋庸置疑的是,该尝试无论对于理论研究还是实践操作都不乏一定的参考价值。
[Abstract]:In contemporary Chinese and foreign translation circles, there are two theoretical schools, text-centered theory and performance-centeredness theory, around the issue of "expressiveness". The author of this paper holds that the text and the performance effect are equally important in evaluating and measuring the translated script, that is, besides the translation quality of the script, the acceptance factor of the script should not be ignored. From the perspective of reception, the translator of the drama text is the first recipient (the original recipient), while the audience is the final recipient (the translation and the stage effect receiver). Therefore, in the course of the research, this thesis intends to introduce the theory of reception aesthetics into the discussion. The two levels of reception factors are integrated, that is, the study of drama text and its receiver (translator) and the recipient of translation and performance (audience) are combined, and the focus of the discussion is on the latter one. The author points out that in the process of translation of drama texts, understanding is the first factor, but at the same time, the expressive aspects which are closely related to the reception effect of the audience can not be ignored. This thesis includes five parts. In the introduction, the author briefly reviews the main topics and research methods in the field of drama translation between China and the West, and points out the significance of introducing the theory of reception aesthetics into this study. Then the author gives a detailed overview of the theories of drama and reception aesthetics. The first chapter summarizes and analyzes the main features of drama and drama language, and gives a literature review of some drama translation theories. In the second chapter, the author tries to introduce the theory of reception aesthetics into the research, starting with the systematic induction, dredge and discussion of the theory of reception aesthetics. This paper discusses the significance of reception aesthetics theory to drama translation theory. The third chapter is the empirical analysis. From the perspective of reception aesthetics, the author makes a detailed analysis of the reception issues involved in the translation of the two plays, Sunrise and thunderstorm. Based on the analysis of linguistic structure and rhetorical features, this paper puts forward a feasible translation strategy and translation method for drama. In the conclusion part, the author reiterates the applicability and significance of the reception aesthetics theory to the drama translation studies, and combs out the various drama translation strategies and techniques proposed in this paper. The limitations of this study are briefly explained. If there are still some bright points in this thesis, it is that the author applies the literary criticism theory of reception aesthetics to the theoretical study of drama translation, and tries to put forward some translation strategies for drama translators. The author argues that although the theory of drama translation is far from forming a complete system and the application of reception aesthetics to translation studies is still in its infancy, there is no doubt that the theory of drama translation is still in its infancy. This attempt has some reference value for both theoretical research and practical operation.
【学位授予单位】：上海外国语大学
【学位级别】：硕士
【学位授予年份】：2009
【分类号】：H059;I046
本文编号：2143329
[Abstract]:In contemporary Chinese and foreign translation circles, there are two theoretical schools, text-centered theory and performance-centeredness theory, around the issue of "expressiveness". The author of this paper holds that the text and the performance effect are equally important in evaluating and measuring the translated script, that is, besides the translation quality of the script, the acceptance factor of the script should not be ignored. From the perspective of reception, the translator of the drama text is the first recipient (the original recipient), while the audience is the final recipient (the translation and the stage effect receiver). Therefore, in the course of the research, this thesis intends to introduce the theory of reception aesthetics into the discussion. The two levels of reception factors are integrated, that is, the study of drama text and its receiver (translator) and the recipient of translation and performance (audience) are combined, and the focus of the discussion is on the latter one. The author points out that in the process of translation of drama texts, understanding is the first factor, but at the same time, the expressive aspects which are closely related to the reception effect of the audience can not be ignored. This thesis includes five parts. In the introduction, the author briefly reviews the main topics and research methods in the field of drama translation between China and the West, and points out the significance of introducing the theory of reception aesthetics into this study. Then the author gives a detailed overview of the theories of drama and reception aesthetics. The first chapter summarizes and analyzes the main features of drama and drama language, and gives a literature review of some drama translation theories. In the second chapter, the author tries to introduce the theory of reception aesthetics into the research, starting with the systematic induction, dredge and discussion of the theory of reception aesthetics. This paper discusses the significance of reception aesthetics theory to drama translation theory. The third chapter is the empirical analysis. From the perspective of reception aesthetics, the author makes a detailed analysis of the reception issues involved in the translation of the two plays, Sunrise and thunderstorm. Based on the analysis of linguistic structure and rhetorical features, this paper puts forward a feasible translation strategy and translation method for drama. In the conclusion part, the author reiterates the applicability and significance of the reception aesthetics theory to the drama translation studies, and combs out the various drama translation strategies and techniques proposed in this paper. The limitations of this study are briefly explained. If there are still some bright points in this thesis, it is that the author applies the literary criticism theory of reception aesthetics to the theoretical study of drama translation, and tries to put forward some translation strategies for drama translators. The author argues that although the theory of drama translation is far from forming a complete system and the application of reception aesthetics to translation studies is still in its infancy, there is no doubt that the theory of drama translation is still in its infancy. This attempt has some reference value for both theoretical research and practical operation.
【学位授予单位】：上海外国语大学
【学位级别】：硕士
【学位授予年份】：2009
【分类号】：H059;I046
【参考文献】
相关期刊论文 前2条
1 熊婷婷;;论巴斯奈特的戏剧翻译观[J];西华师范大学学报(哲学社会科学版);2006年05期
2 王著定;论翻译研究的接受美学视角[J];陕西师范大学继续教育学报;2005年01期
，本文编号：2143329
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