基于语音语料库的《长生殿》及其英译本的韵律音系学研究

发布时间：2018-03-02 22:02

本文选题：语音语料库　切入点：韵律音系学　出处：《江苏大学》2017年硕士论文　论文类型：学位论文

【摘要】：《长生殿》作为中国四大经典戏剧之一,具有极高的艺术成就,也成为昆曲、京剧的传统曲目。文献研究表明,以往对于《长生殿》的研究多集中于戏剧主题和戏剧创作意义等,而对于其翻译的研究较少,且多着重于翻译策略或美学再现方面。戏剧翻译相关研究主要关注戏剧原文与译文对等、戏剧翻译作品中语用要素再现和翻译的文化对比等,而将戏剧翻译与韵律音系学结合的较少。因此,本研究以中国传统戏剧经典《长生殿》的经典曲目《定情》和《惊变》为例,结合韵律音系学理论与研究方法,分析唐明皇、杨贵妃、高力士三个主要角色语言的韵律特征,并且比较杨宪益、戴乃迭和许渊冲、许明两个英译本中对这三个角色语言韵律特征的表现,分析韵律特征对人物塑造的影响,探究哪一个译本更加适用于舞台表演,从而构建戏剧翻译的韵律音系学评价体系。为保证研究客观性,本文采用数据驱动的研究方法,选取洪升《长生殿》中《定情》和《惊变》为源语文本,杨宪益、戴乃迭(杨译)和许渊冲、许明(许译)的两个英译本为目的语文本,借助语音合成软件InterPhonic 6.0完成文字-音频转换。研究选择时长、音高和音强作为分析参数,借助Praat 6.0软件提取文件时长、最大音高、最小音高、平均音高、最大音强、最小音强。作为数据驱动研究,本研究中数据差异引导研究关注点,并且根据数据追踪不同译本的韵律再现效果,从而构建基于韵律音系学的戏剧翻译评价体系。研究结果表明:(1)在时长方面,杨译本三个人物的唱词大多比许译本短,与原文较为一致,更能准确地再现剧中人物的性格特征和情感基调。(2)在音高层面上,本研究主要考查了音高起伏度的变化。相比杨译本,许译本整体调域变化最为明显,更强调音高大幅变化,益于表现情感起伏;并且音高起伏位置、幅度与原文一致性更高。但也为演员在短时间内再现音高变化增加了困难。(3)音强方面,由于中英文固有的差异,两个译本的音强都比原文低得多,大多只有原文的三分之一至一半。比较而言,杨译本更接近原文,音强曲折变化更多。(4)在重构人物方面,杨译本的一些表达与原文更接近,而许译本对不同角色话语的翻译具有内在一致性。本研究运用语料库手段,以韵律音系学为理论框架,比较研究中国传统名剧《长生殿》及其翻译的韵律特征和戏剧特征,构建戏剧翻译的韵律音系学评价体系,对于推动中国传统戏剧及其翻译研究和中国文化传播具有重要价值。
[Abstract]:As one of the four Chinese classical dramas, the Temple of Changsheng has a very high artistic achievement and has also become a traditional repertoire of Beijing Opera. In the past, most of the studies focused on the theme of drama and the significance of drama creation, but less on its translation. The studies on drama translation mainly focus on the equivalence between the original drama and the target text, the reproduction of pragmatic elements in drama translation and the cultural contrast of translation. Therefore, this study takes the classical Chinese drama classic "Changsheng Dian" as an example, combining with the theory and research methods of rhyme phonology, to analyze Tang Minghuang. The prosodic characteristics of Yang Guifei and Golius' three main character languages are compared, and the influence of prosodic features on the characterization of characters is analyzed by comparing the prosodic features of the three characters in the English versions of Yang Xianyi, Dai Nadie and Xu Yuanchong, and Xu Ming's two English versions. In order to ensure the objectivity of the study, this paper adopts a data-driven approach to explore which version is more suitable for stage performance, thus establishing a rhythmic phonological evaluation system for drama translation. Hong Sheng, the Temple of Changsheng, selected the two English translation versions of Yang Xianyi, Dai Naidi (translated by Yang) and Xu Yuanchong, Xu Ming (translated by Xu) as the target language. The text to audio conversion is completed with the aid of InterPhonic 6.0. Time, pitch and intensity are selected as the analysis parameters, and the file duration, maximum pitch, minimum pitch, average pitch and maximum sound intensity are extracted with the help of Praat 6.0 software. As a data-driven study, this study focuses on data difference guidance, and tracks the prosodic effects of different translations according to the data. The results show that in terms of the length of time, most of the lyrics of the three characters in Yang's version are shorter than that in Xu's version, which is consistent with the original text. In the aspect of pitch, this study mainly examines the variation of pitch fluctuation. Compared with Yang's translation, the change of the overall tone domain of Xu version is the most obvious, and the significant change of pitch is emphasized. It is beneficial to express emotional fluctuation; and the position of pitch fluctuation is more consistent with the original text. But it also increases the difficulty in reproducing the change of pitch in a short period of time, due to the inherent differences between Chinese and English. The sound strength of the two versions is much lower than that of the original text, and most of them are only 1/3 to half of the original text. In comparison, Yang's version is closer to the original text, and the sound intensity and twists and turns change more. 4) in terms of reconstructing characters, some of the expressions of Yang's version are closer to the original text. The present study uses corpus method to study the rhythmic and dramatic features of Chinese traditional drama Changsheng Dian and its translation by means of corpus and using prosody phonology as the theoretical framework. It is of great value to construct the evaluation system of prosody phonology in drama translation for promoting the study of Chinese traditional drama and its translation as well as the spread of Chinese culture.
【学位授予单位】：江苏大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：H315.9;I046

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