体验认知视角下莎剧和曹剧“风”“雨”隐喻及其翻译研究
发布时间：2018-08-25 19:37
【摘要】：人们基于对天气的身体体验,形成了天气隐喻来理解和构建所处的世界。曹禺和莎士比亚作为中英著名的剧作家,在戏剧中大量地运用“风”“雨”意象,且常以比喻形式出现。基于前人研究,本文以莎士比亚四大悲剧和曹禺的《雷雨》、《日出》和《原野》为文本,利用语料库软件antconc3.2.Ow对剧本中“风”“雨”语句进行统计,并对“风”“雨”比喻进行了语言层面的修辞分析。研究发现:从语言表现形式来看,莎剧和曹剧中“风”“雨”比喻的语言表达形式有明喻、隐喻和借喻三种辞格。这三种比喻辞格的具体语言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,莎士比亚比曹禺在“风”“雨”比喻的运用上更灵活多变。根据认知语言学的观点,比喻不仅是一种修辞手段,更是一种认知方式。本文从体验认知角度对莎剧和曹剧中“风”“雨”隐喻进行了认知分析,探讨“风”“雨”映射的共性和差异,研究发现:就隐喻映射而言,莎剧和曹剧中存在大量借助“风”“雨”意象(源域)投射到剧作家关注的目标域的实例,这些目标域包括:行为域,如“风”喻人的行为举止(MANNER IS WIND)等;社会现象域,如“风”喻处境或势头(SITUATION/TRENDISWIND)等;人类情感域,如“雨”喻眼泪、悲痛、耻辱(TEAR,SORE/BLAME IS RAIN)等。同时,“风”和“雨”各种特性在概念化的过程中,隐喻投射在语言表达上呈现出一些差异性。莎剧和曹剧各有独特的隐喻投射,莎剧中独特的隐喻有:RUMOR IS WIND;MUSIC IS WIND;SORE/SHAME IS RAIN。曹剧中独特的隐喻有:TIREDNESS IS WIND;SHOCK/POWER IS WIND;POVERTY IS WIND。总的来说,莎剧和曹剧中“风”和“雨”隐喻体现了认知具有普遍性和文化独特性。概念隐喻理论对翻译研究有着很强的解释力,并在翻译研究中得以应用。概念隐喻是从一个概念域到另一个概念域的映射,概念隐喻视角下隐喻的翻译观也可以理解为从源域(源语)到目标域(目标语)的一种映射。从概念隐喻翻译观出发,本文对朱生豪、梁实秋、卞之琳和方平的莎剧译本及《日出》(巴恩斯和王佐良合译)和《雷雨》(巴恩斯译)英译本进行客观描述,就“风”“雨”隐喻翻译归纳三种方法:完全对应翻译法、部分对应翻译法和完全转换翻译法。本研究是一次交叉学科的尝试,从体验认知角度出发,将概念隐喻和修辞、翻译理论相结合,系统研究莎剧和曹剧的“风”“雨”比喻、认知机制和翻译方法,以期为莎剧和曹剧的语言和翻译研究探索新路子。
[Abstract]:Based on the physical experience of the weather, people form the weather metaphor to understand and construct the world in which they live. Cao Yu and Shakespeare, as famous playwrights in China and England, used the images of "wind" and "rain" in their plays, often in the form of metaphors. Based on previous studies, this paper takes four tragedies of Shakespeare and Cao Yu's Thunder Storm, Sunrise and Field as texts, and makes use of the corpus software antconc3.2.Ow to make statistics on the sentences of "Wind" and "Rain" in the script. And the metaphor of "Wind" and "Rain" is rhetorically analyzed at the linguistic level. From the perspective of linguistic expressions, the linguistic expressions of the metaphors of "Feng" and "Rain" in Shakespeare's and Cao's plays are metaphorical, metaphorical and metaphorical. The specific linguistic forms of these three figurative figures of speech show different characteristics in Shakespeare's plays and Cao's plays. In general, Shakespeare is more flexible than Cao Yu in the use of the metaphor of "wind" and "rain". According to cognitive linguistics, metaphor is not only a rhetorical device, but also a cognitive way. From the perspective of experiential cognition, this paper makes a cognitive analysis of the metaphors of "Wind" and "Rain" in Shakespeare's plays and Cao's plays, and probes into the generality and difference of the mapping of "Wind" and "Rain", and finds that: as far as metaphorical mapping is concerned, There are a large number of examples in Shakespeare's and Cao's dramas that project the images of "wind" and "rain" (source domain) to the target domains concerned by playwrights. These target domains include: behavioral domains, such as "wind" metaphors' behavior (MANNER IS WIND), social phenomenon domain, etc. For example, "wind" refers to situation or momentum (SITUATION/TRENDISWIND); human emotional domain, such as rain, tears, grief, TEAR,SORE/BLAME IS RAIN), etc. At the same time, in the process of conceptualization of the characteristics of "wind" and "rain", metaphorical projection presents some differences in language expression. Shakespeare and Cao have their own unique metaphorical projections, and the unique metaphors in Sha are: RUMOR IS WIND;MUSIC IS WIND;SORE/SHAME IS RAIN.. The unique metaphors of Cao's play are: TIREDNESS IS WIND;SHOCK/POWER IS WIND;POVERTY IS WIND. Generally speaking, the metaphors of "Wind" and "Rain" in Shakespeare's and Cao's novels embody the universality and cultural uniqueness of cognition. Conceptual metaphor theory has a strong explanatory power in translation studies and has been applied in translation studies. Conceptual metaphor is a mapping from one conceptual domain to another. From the perspective of conceptual metaphor, metaphor translation can also be understood as a mapping from source domain (source language) to target domain (target language). From the perspective of conceptual metaphor translation, this paper gives an objective description of the translation of Shakespeare's plays by Zhu Shenghao, Liang Shiqiu, Bian Zhilin and Fang Ping, as well as the English versions of Sunrise (translated by Barnes and Wang Zuoliang) and thunderstorm (translated by Barnes). In this paper, three methods of metaphorical translation of "Wind" and "Rain" are summarized: complete correspondence translation, partial correspondence translation and complete conversion translation. This study is a cross-disciplinary attempt. From the perspective of experiential cognition, this study combines conceptual metaphor, rhetoric and translation theory to systematically study the metaphor, cognitive mechanism and translation methods of "Wind" and "Rain" in Shakespeare's and Cao's plays. In order to explore a new way for the study of the language and translation of Shakespeare and Cao dramas.
【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
本文编号：2203894
[Abstract]:Based on the physical experience of the weather, people form the weather metaphor to understand and construct the world in which they live. Cao Yu and Shakespeare, as famous playwrights in China and England, used the images of "wind" and "rain" in their plays, often in the form of metaphors. Based on previous studies, this paper takes four tragedies of Shakespeare and Cao Yu's Thunder Storm, Sunrise and Field as texts, and makes use of the corpus software antconc3.2.Ow to make statistics on the sentences of "Wind" and "Rain" in the script. And the metaphor of "Wind" and "Rain" is rhetorically analyzed at the linguistic level. From the perspective of linguistic expressions, the linguistic expressions of the metaphors of "Feng" and "Rain" in Shakespeare's and Cao's plays are metaphorical, metaphorical and metaphorical. The specific linguistic forms of these three figurative figures of speech show different characteristics in Shakespeare's plays and Cao's plays. In general, Shakespeare is more flexible than Cao Yu in the use of the metaphor of "wind" and "rain". According to cognitive linguistics, metaphor is not only a rhetorical device, but also a cognitive way. From the perspective of experiential cognition, this paper makes a cognitive analysis of the metaphors of "Wind" and "Rain" in Shakespeare's plays and Cao's plays, and probes into the generality and difference of the mapping of "Wind" and "Rain", and finds that: as far as metaphorical mapping is concerned, There are a large number of examples in Shakespeare's and Cao's dramas that project the images of "wind" and "rain" (source domain) to the target domains concerned by playwrights. These target domains include: behavioral domains, such as "wind" metaphors' behavior (MANNER IS WIND), social phenomenon domain, etc. For example, "wind" refers to situation or momentum (SITUATION/TRENDISWIND); human emotional domain, such as rain, tears, grief, TEAR,SORE/BLAME IS RAIN), etc. At the same time, in the process of conceptualization of the characteristics of "wind" and "rain", metaphorical projection presents some differences in language expression. Shakespeare and Cao have their own unique metaphorical projections, and the unique metaphors in Sha are: RUMOR IS WIND;MUSIC IS WIND;SORE/SHAME IS RAIN.. The unique metaphors of Cao's play are: TIREDNESS IS WIND;SHOCK/POWER IS WIND;POVERTY IS WIND. Generally speaking, the metaphors of "Wind" and "Rain" in Shakespeare's and Cao's novels embody the universality and cultural uniqueness of cognition. Conceptual metaphor theory has a strong explanatory power in translation studies and has been applied in translation studies. Conceptual metaphor is a mapping from one conceptual domain to another. From the perspective of conceptual metaphor, metaphor translation can also be understood as a mapping from source domain (source language) to target domain (target language). From the perspective of conceptual metaphor translation, this paper gives an objective description of the translation of Shakespeare's plays by Zhu Shenghao, Liang Shiqiu, Bian Zhilin and Fang Ping, as well as the English versions of Sunrise (translated by Barnes and Wang Zuoliang) and thunderstorm (translated by Barnes). In this paper, three methods of metaphorical translation of "Wind" and "Rain" are summarized: complete correspondence translation, partial correspondence translation and complete conversion translation. This study is a cross-disciplinary attempt. From the perspective of experiential cognition, this study combines conceptual metaphor, rhetoric and translation theory to systematically study the metaphor, cognitive mechanism and translation methods of "Wind" and "Rain" in Shakespeare's and Cao's plays. In order to explore a new way for the study of the language and translation of Shakespeare and Cao dramas.
【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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