二十世纪二十年代外国戏剧在中国的译介研究

发布时间：2018-08-06 08:11

【摘要】： 戏剧翻译在中国已有百年历史,然而长期以来,中国翻译界对戏剧翻译缺乏系统性研究。在外国戏剧的引进过程中,上世纪前三十年是戏剧翻译最集中的时期。尤其二十年代在翻译的选材、翻译方法等方面呈现出独特的风貌。书写中国现代翻译文学史,二十年代的戏剧翻译是不可或缺的一部分。本文运用接受理论,采用水平研究,通过对二十年代译者的个人期待视域与不同读者群形成的公共期待视域的两大形态的细致考察,对戏剧翻译的选材、翻译策略进行描写性研究,试图勾勒外国戏剧翻译的全貌。本文认为读者(包含译者和译文读者)的期待视域对二十年代的戏剧翻译活动起决定性的影响作用。在此基础上,本文提出二十年代戏剧翻译是一种悖论:进步译者大规模翻译引进外国戏剧是因其是最接近广大民众的艺术形式,而真正让戏剧深入民心的则是被民族化的改编戏剧。二十年代民族的危机激起进步青年的爱国热情。戏剧因其与民众的密切联系成为唤起最广大民众的觉醒、改造社会的工具。大量外国戏剧被译介到中国。基于对传统戏曲脱离现实的批判,进步译者以写实手法为标准对外国戏剧进行选择性译介。“五四”的批判精神使得具有尖锐批判讽刺、无情揭露社会现实风格的外国戏剧得到译者青睐。对不同译文读者的考虑促使译者使用迥然不同的翻译策略。以进步知识青年为读者对象供其阅读模仿的外国戏剧翻译呈现欧化趋势,甚至“死译”现象。而以演出为目的、供观众观赏的戏剧翻译则采用归化的改编策略,这是舞台译者为适用受传统戏曲长期熏陶已形成固定观赏习惯的中国观众而做出的自觉选择,以期达到与观众的视域融合,被观众接受。本文为中国现代翻译文学史的一部分,同时也验证文学理论对翻译活动的解释力。同时,通过沉思翻译作品被接受的历史文化原因,探寻翻译作品被接受的规律,指导今后的戏剧翻译,繁荣中国当代戏剧翻译。本文由五个章节构成。第一章是引言,介绍本研究的必要性,文献综述,论文的理论基础、结构框架等;第二章简单介绍接受理论,重点解释期待视域,并阐明其对戏剧翻译的适用性。第三章详细分析二十年代的译者的个人期待视域及其对戏剧翻译的影响。第四章分析由不同读者群构成的公共期待视域及其对戏剧翻译的重要影响。第五章总结了本文的理论意义、研究的局限性,并对今后研究提出建议。本文采用水平研究的方式,只对二十年代戏剧翻译进行了考察。要书写一部中国戏剧翻译史还需对其他不同时期的翻译作品和同一作品在不同时期的翻译接受情况作垂直研究。
[Abstract]:Drama translation has a history of 100 years in China. However, there has been no systematic study on drama translation in Chinese translation circles for a long time. In the process of introducing foreign drama, the first 30 years of last century was the most concentrated period of drama translation. Especially in the twenties, the selection of translation materials, translation methods and other aspects show a unique style. In writing the history of modern Chinese translation, drama translation in the 1920s is an indispensable part. Based on the reception theory and the level study, this paper makes a careful study of the two major forms of the public expectation horizon formed by the translators in the 1920s and the public expectation horizon formed by different readership, so as to select the candidates for drama translation. A descriptive study of translation strategies is carried out in an attempt to outline the full picture of foreign drama translation. This paper argues that the horizon of expectation of readers (both translators and target readers) plays a decisive role in the drama translation activities in the 1920s. On this basis, this paper points out that drama translation in the 1920s is a paradox: progressive translators introduce foreign drama on a large scale because it is the art form closest to the general public. And what really lets the drama go deep into the popular support is the adaptation drama which is nationalized. The national crisis of the 1920s aroused the patriotic enthusiasm of the progressive youth. Because of its close relationship with the masses, drama has become a tool for arousal and social transformation. A large number of foreign plays have been translated and introduced to China. Based on the criticism that the traditional opera is divorced from reality, the progressive translator adopts realism as the criterion for the selective translation of foreign drama. The critical spirit of the May 4th Movement makes foreign dramas with sharp critical satire and merciless revelation of social reality favored by translators. The consideration of the readers of different translations encourages the translators to use very different translation strategies. The translation of foreign plays, which is aimed at the progressive intellectual youth for them to read and imitate, shows a trend of Europeanization and even the phenomenon of "dead translation". For the purpose of performing, the drama translation for audience to watch adopts the strategy of domestication, which is the conscious choice made by the stage translator for the application of the Chinese audience who has been influenced by the traditional opera for a long time. In order to achieve with the audience's vision fusion, is accepted by the audience. This paper is a part of the history of Chinese modern translation literature, and also verifies the explanatory power of literary theory on translation activities. At the same time, through pondering over the historical and cultural reasons for the acceptance of translated works, this paper explores the law of acceptance of translated works, which will guide the future of drama translation and prosper the translation of contemporary Chinese drama. This paper consists of five chapters. The first chapter introduces the necessity of this study, literature review, the theoretical basis of the thesis, the structure of the framework and so on; the second chapter briefly introduces the reception theory, focusing on the perspective of expectation, and clarifies its applicability to drama translation. Chapter three analyzes the perspective of translators' personal expectation and its influence on drama translation in the 1920s. Chapter four analyzes the perspective of public expectation composed of different readers and its important influence on drama translation. The fifth chapter summarizes the theoretical significance of this paper, the limitations of the study, and put forward suggestions for future research. In this paper, a horizontal approach is used to investigate the translation of drama in the 1920s. In order to write a history of translation of Chinese drama, it is necessary to make a vertical study of other translation works in different periods and the translation reception of the same work in different periods.
【学位授予单位】：安徽师范大学
【学位级别】：硕士
【学位授予年份】：2007
【分类号】：H059;I046

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