概念整合视角下莎剧与曹禺戏剧的移就修辞及其翻译研究

发布时间：2018-02-14 19:34

本文关键词： 概念整合莎剧曹剧移就修辞翻译方法　出处：《广西师范大学》2017年硕士论文　论文类型：学位论文

【摘要】：移就是展现民族语言特色的有效手段。随着认知语言学的发展,学者们发现移就不仅是一种修辞手法,更是人类的认知和思维方式。本文以莎士比亚四大悲剧和曹禺的《雷雨》、《原野》和《王昭君》为语料,首先对剧本中的移就修辞进行统计分析,探讨其移属规律;其次分析莎剧移就修辞的概念整合网络;再次,构建概念整合视角下移就修辞的翻译模式,并将其运用到考察梁实秋等五位译者对中英移就修辞的翻译。研究发现:第一,莎剧和曹剧中移就的分类主要为四类:移人于物,移物于物,移情感于感官、行为以及移物于人。这四类的构成方式在莎剧和曹剧中呈现出各自不同的特点,总的来说,曹禺戏剧中的移就出现形式少于莎剧,结构形式没有莎剧灵活。第二,这四种移就多运用到了镜像型、单域型和双域型整合网络。第三,莎剧中的移就和曹剧中的移就在相同的移就类别中的认知机制大致相同,但是在结构上有着一定程度的差异。莎剧中的移就相对于曹禺戏剧中的移就来说,形式更加复杂多变,语序也相对灵活,在语义关系上也是如此。第四,译者在对移就修辞进行翻译时,首先对原文进行解读,由于译者的中英文化修养、生活阅历、情感体验存在差异,使得他们在移就修辞的认知和翻译上存在一定的差异。译者们再将原文理解的输入空间与目的语语言文化输入空间中的成分选择性地投射至译文空间,根据各自的理解,组合、完善、精细化这些输入信息,得出译文;第五,本文在分析译本移就处理在再现原剧主题、重构原文意义和保留原文形式等方面的特色和得失的基础上,结合概念整合理论,得出了移就修辞的翻译方法:完全对应译法、不完全对应译法和不对应译法。
[Abstract]:With the development of cognitive linguistics, scholars find that shifting is not just a rhetorical device. Taking Shakespeare's four tragedies and Cao Yu's "thunderstorm", "the Field" and "Wang Zhaojun" as the corpus, this paper first makes a statistical analysis of the shifting rhetoric in the script and probes into the law of its migration. Secondly, it analyzes the conceptual integration network of shifting rhetoric in Shakespeare's plays, and thirdly, constructs the translation mode of conceptual integration from the perspective of conceptual integration, and applies it to the translation of Chinese-English rhetoric by five translators such as Liang Shiqiu. There are four main categories in Shakespeare and Cao dramas: moving people to things, moving things to things, moving emotions to senses, behavior and moving things to people. These four types of composition show different characteristics in Shakespeare and Cao dramas, and generally speaking, Cao Yu's dramas have fewer forms of migration than Shakespeare's dramas, and the structural forms are not as flexible as Shakespeare's. Second, these four types of migration are mostly applied to mirror, single-field and dual-domain integrated networks. Third, The cognitive mechanism in Shakespeare's drama is roughly the same as Cao's 's in the same category, but there is a certain degree of difference in structure. Compared with Cao Yu's drama, the shift in Shakespeare's drama is more complicated and changeable in form. The word order is also relatively flexible, and so is the semantic relationship. In 4th, the translator first interprets the original text when translating the shifting rhetoric. Due to the differences in the translator's cultural accomplishment, life experience, and emotional experience, there are differences in the translator's cultural accomplishment, life experience and emotional experience. It makes them have some differences in understanding and translation of rhetoric. The translators then selectively project the input space of the original text and the elements in the cultural input space of the target language into the translation space, and combine them according to their respective understanding. In 5th, on the basis of analyzing the translation to deal with the features and losses in reproducing the theme of the original play, reconstructing the meaning of the original text and retaining the original form, this paper combines the theory of conceptual integration. The translation methods of shifting rhetoric are as follows: complete correspondence, incomplete correspondence and non-corresponding translation.
【学位授予单位】：广西师范大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：H315.9

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