概念整合视角下莎剧与曹剧“心”隐喻对比及其翻译研究

发布时间：2018-12-29 08:26

【摘要】：人体词属于基本范畴词,其隐喻化是人类形成和表达概念的重要手段。“心”作为英汉人体核心词,易于形成隐喻意义,值得探究。莎剧与曹剧中不少隐喻与人体词“心”有关,“心”的隐喻表达亦使得剧中语言更具艺术感染力。值得一提的是,隐喻不仅是一种修辞格,更是人类的思维与认知方式。概念整合作为一种极其普遍的认知操作,对隐喻的意义建构和推理机制具有较强的阐释力。翻译本身也是一种隐喻化过程,可见,概念整合与隐喻翻译十分契合。本研究以概念整合理论为视角,对比探究莎剧与曹剧人体词“心”的隐喻,并探索出较为恰当有效的翻译策略。首先,从莎士比亚四大悲剧(《李尔王》、《哈姆雷特》、《奥赛罗》、《麦克白》),和曹禺名剧《雷雨》、《日出》选取与人体词“心”相关的语料,从修辞层面分析莎剧与曹剧“心”的隐喻,发现修辞格是“心”隐喻认知的重要阶段。其次,基于前人关于隐喻的认知分类框架,分析剧中人体词“心”的隐喻表达,建构出“心”隐喻的三个共享认知模式(即:“心”作为物质实体、作为容器(情感容器、思想容器)、作为有机体),及“心”各自独有的隐喻模式,并运用概念整合理论对各个模式进行认知解读,探讨“心”隐喻意义建构的认知机制,发现概念整合理论能够有效阐释“心”隐喻的意义建构过程;莎剧与曹剧“心”的隐喻认知呈现出“同异共存、大同小异”的特点,由于英汉民族相似的身体体验,“心”的隐喻认知模式有共同的规律;但由于英汉语言系统的差异,“心”的隐喻亦存在各自特有的认知模式。最后,基于概念整合视角下的隐喻翻译模式,考察现有代表性译本,对“心”的隐喻在不同译本的处理方式进行分析,发现译者对“心”隐喻采取的翻译策略可归结为三种:完全对应投射法、部分对应投射法(原文空间投射法和译者空间投射法)和无对应投射整合法;译者们倾向于采用第一种译法,处理莎剧“心”的隐喻,对曹剧“心”隐喻的处理,则以第三种译法为主,而第二种译法在两者中比例相当。作者期望本研究为莎剧与曹剧人体词的隐喻及其翻译研究提供崭新视角。
[Abstract]:Human words belong to basic category words, whose metaphorization is an important means for human beings to form and express concepts. As the core word of human body in English and Chinese, "Xin" is easy to form metaphorical meaning and is worth exploring. Many metaphors in Shakespeare's and Cao's are related to the body word "heart", and the metaphorical expression of "heart" also makes the language of the play more artistic appeal. It is worth mentioning that metaphor is not only a figure of speech, but also a human way of thinking and cognition. Conceptual integration, as a very common cognitive operation, has a strong explanatory power to the meaning construction and inference mechanism of metaphor. Translation itself is also a metaphorical process. From the perspective of Conceptual Integration Theory, this study makes a comparative study of the metaphors of Shakespeare's and Cao's human body words "Xin" and explores more appropriate and effective translation strategies. First of all, from the four great tragedies of Shakespeare (King Lear, Hamlet, Othello, Macbeth), and Cao Yu's famous plays thunderstorm and Sunrise, choose the corpus related to the body word "heart". This paper analyzes the metaphor of Shakespeare's play and Cao's' Heart 'from the rhetorical point of view, and finds out that rhetoric is an important stage of the metaphorical cognition of' Heart'. Secondly, based on the previous cognitive classification framework of metaphor, this paper analyzes the metaphorical expression of "heart" in drama, and constructs three shared cognitive models of "heart" metaphor (that is, "heart" as a material entity and as a container (emotional container). Thought container), as an organism), and the unique metaphorical models of "heart", and using the theory of conceptual integration to interpret each model, and to explore the cognitive mechanism of the construction of metaphorical meaning of "heart". It is found that conceptual integration theory can effectively explain the process of meaning construction of "heart" metaphor. The metaphorical cognition of Shakespeare's drama and Cao's "Xin" shows the characteristics of "same coexistence, much the same little difference". Due to the similar body experience of English and Chinese people, the metaphorical cognitive mode of "heart" has the same rules; However, due to the differences of English and Chinese language systems, the metaphor of "mind" also has its own cognitive patterns. Finally, based on the metaphorical translation model from the perspective of conceptual integration, this paper investigates the existing representative versions and analyzes the ways in which the metaphors of "Heart" are handled in different versions. It is found that the translator's translation strategies for "heart" metaphor can be summed up into three types: complete correspondence projection, partial correspondence projection (original text space projection and translator spatial projection) and non-corresponding projection integration; Translators tend to use the first method to deal with the metaphor in Shakespeare's play "Xin", while the third method is the main method, and the second method is the same proportion of the two. The author hopes that this study will provide a new perspective for the study of metaphor and translation of body words in Shakespeare's and Cao's 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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