基于语料库的《桃花扇》小说化和音乐化叙事的翻译探究

发布时间：2018-04-20 23:37

本文选题：戏剧翻译 + 叙事　；参考：《江苏大学》2017年硕士论文

【摘要】：《桃花扇》是中国传统戏剧明清传奇中最杰出的作品之一,且已被国内外著名译者翻译成多种版本,具有极高的研究价值。然而,无论是原文本还是译本都未引起学者足够的重视。为了弘扬中国传统文化、加快中国传统戏剧的翻译步伐,本研究试图基于舞台表演对《桃花扇》原文本及其两个英译本从小说化和音乐化叙事两个角度进行一个比较系统的对比研究。可表演性和上口性是戏剧的两个主要因素。在翻译中国传统戏剧时,对原文可表演性和上口性的保留或移植在很大程度上决定了译本是否适合用于舞台表演。然而,先前的研究往往忽略了这两点,所以本研究关注《桃花扇》中《骂筵》这一出小说化叙事的可表演性以及音乐化叙事的上口性。为确保研究的客观性和准确性,本文选取了孔尚任的《桃花扇》的高潮《骂筵》一出,以许渊冲、许明以及陈世骧、阿克顿、白芝翻译的两个相对应的英译本作为案例,文中的对比研究结合了定性和定量的研究方法,并对此进行了基于语料库的对比研究。在研究音乐化叙事时,本文以韵律音系学作为评价体系,选取押韵,时长和音高作为三个参数来研究曲的音美,并采用了以下软件:UltraEdit、ABBYY Finereader、TTS、Cooledit Pro以及Praat。研究发现:首先,在小说化叙事方面,许译本比陈译本更好地抓住了明清传奇中小说叙事的重点。许能准确把握住谁是说话的对象,在叙事中需要作者或旁白的身份代入时能很好地体现出他们的身份。在对叙述者的心理活动进行翻译时,许为了让观众能更深刻地理解叙事者的内心,在翻译时直接以观众为对象抒发心情。所以,对以观众为主的戏剧表演而言,许译本更简洁明了,更符合可表演性的要求。其次,在音乐化叙事方面,因为戏剧中的叙事者通过讲故事尤其是吟唱来抒发自己的感情,所以本文选择《骂筵》中的曲为研究对象,在句子层面上从押韵、时长、音高这三个方面来研究音乐化叙事。在押韵上,陈译本没有押韵的痕迹,许译本虽然没有遵循原文本的押韵形式,但是他选用了类似英语打油诗的“AABBA”的押韵,很好地体现出原文本中隐藏的自嘲含义。在时长上,陈译本远比原文本长,而许译本的时长与原文本非常接近。可见许注重时长的变化并且尽力实现译本与原文本在时长上的对等。在音高上,由于英汉两种语言属于不同的语言体系,译文很难与原文本保持一致性。但是许版本的音高明显比陈译本低而且音高变化趋势相对稳定。综上所述,许更注重语言的形美和音美,更好地实现了上口性。而且由于许能更好地理解叙述者的心理并且在翻译时努力将这一细节译出,所以许译本在建立整出的情感基调和推动故事情节的发展上明显优于陈译本。此外,许译本也更深刻地体现了《桃花扇》“借离合之情,写兴亡之感”这一主题。在叙事学和韵律音系学的理论框架下,本研究从适合舞台表演这个角度并通过语料库手段对明清传奇历史剧的代表作《桃花扇》及其两英译本的小说化和音乐化叙事进行了分析。这项研究不仅能推动中国传统戏剧的翻译研究,而且在弘扬中国传统文化中具有非常重要的意义。
[Abstract]:"Peach Blossom Fan" is one of the most outstanding works of the Chinese traditional drama Ming and Qing Dynasties, and has been translated into many versions by famous translators at home and abroad. However, both the original and the translated texts have not attracted enough attention from scholars. In order to carry forward the traditional Chinese culture and accelerate the translation of traditional Chinese drama, this is the first one. The study tries to make a comparative and systematic comparison between the peach blossom fan, the original text and the two English versions from the two angles of fiction and musicality. The performance and the upper mouth are the two main factors of the drama. To a large extent, it determines whether the translation is suitable for stage performance. However, previous studies often ignore these two points, so this study focuses on the performability of the novel narrative of "Peach Blossom Fan >" "scolding" and the upper lip of the musicize narrative. In order to ensure the objectivity and accuracy of the study, this paper selects Kong Shangren's Peach Blossom Fan. The two English translations that are translated by Xu Yuan, Xu Ming and Chen Shixiang, Acton and white Ganoderma are taken as a case. The comparative study in this article combines the qualitative and quantitative research methods, and carries out a corpus based contrast study. In the study of musicize narrative, the thesis uses metrical phonology as an evaluation. The system, selecting rhyme, length and pitch as three parameters to study the sound beauty of the music, and using the following software: UltraEdit, ABBYY Finereader, TTS, Cooledit Pro and Praat. research and discovery: first, in the novel narrative aspect, the translated version can better grasp the key of the novel narrative in the Ming and Qing Dynasties. Who is the object of speech, which requires the identity of the author or the narrator in the narrative to reflect their identity. In the translation of the narrator's psychological activities, the audience can understand the heart of the narrator more deeply and express the mood directly with the audience in the translation. So, to the audience based drama. In terms of performance, the translated version is more concise and more able to meet the performance requirements. Secondly, in the aspect of musicize narrative, the narrators in the drama express their feelings by telling stories, especially singing, so this paper chooses the music in "scolding" as the research object, and studies the three aspects of the sentence level from rhyme, time length and pitch. In the rhyme, there is no trace of rhyme in the rhyme. Although the translated version does not follow the rhyme form of the original text, he chooses the rhyme of "AABBA", which is similar to the English oil, and shows the hidden meaning of self mockery in the original text. In the long time, the old version is far more than the original text, and the length and the original version of the translated version is the original. This is very close. We can see the change in time and try to realize the equivalence between the translation and the original text. In the pitch, because the English and Chinese two languages belong to different language systems, the translation is difficult to keep consistent with the original version. However, the pitch of the promised version is obviously lower than the old version and the trend of pitch change is relatively stable. As a result, he pays more attention to the beauty of the language and the beauty of the sound, and makes it better to reach the mouth. And because it can better understand the narrator's psychology and try to translate it in the translation, the translated version is obviously better than the old version in the establishment of the whole emotional tone and the development of the story plot. Under the theoretical framework of narratology and rhythmic phonology, this study analyzes the novel and musical narration of the representative works of the legendary historical plays of Ming and Qing Dynasties and their two English translations in the theoretical framework of narrative and rhythmic phonology. This study not only promotes the translation study of Chinese traditional drama, but also plays a very important role in promoting Chinese traditional 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

【参考文献】