功能论视角解析戏剧翻译的两极化及其策略的双重性
发布时间：2018-11-03 06:47
【摘要】：戏剧作为文学的特殊种类，不仅是剧本文本，更是舞台表演的蓝本，因此戏剧翻译研究的视角势必不同于一般翻译。戏剧翻译研究由来已久，戏剧翻译理论历经了从三十年代到九十年代漫长的纷争，至今依然以不可调和的两极化对恃着。一方是以著名的翻译理论家苏珊·巴斯奈特为代表的“文本可读性”派，另一方是以帕特里特·巴维斯为代表的“舞台表演性”派。苏珊·巴斯奈特要求文本翻译要严谨，反对以舞台表演性为借口，忽视语言信息的根本。帕特里特·巴维斯则认为戏剧有独特的舞台艺术功效，强调戏剧翻译应该以舞台表演性为根本。本文以戏剧翻译的两极化为焦点，对戏剧翻译辨证统一的双重性做了尝试性探讨。论文首先回顾了戏剧翻译的争论，突出展示了两极化的矛盾。继而，作者以功能目的论翻译理论为依据，对戏剧的文本词语翻译以及舞台艺术的实现给与了充分的分析。笔者认为文本严谨固然重要，同时，功能翻译理论告知我们，翻译是一项有目的的行为，不可忽视戏剧的舞台功能目的。戏剧翻译就是要讲文本搬上舞台，舞台是戏剧翻译的目的。为了目的语舞台功能的需要，戏剧翻译应该是不同于一般文本的翻译的，它需要在文本翻译的基础上，兼顾其表演性。本文认为文字和舞台表演性在戏剧翻译中同等重要，应该是动态的融合，而不是非此即彼，一定要舍弃其一。本文进一步分析指出，在注重文字的一方面，因该在文化语境顺应中，做出最大程度的信息转化，同时，在舞台效果的制约下，调整文本，突出表演性，从而达到两方面最佳结合。最后，本文以老舍《茶馆》的两个英译本—英若诚版和霍华版—为对比例本，，分析了英氏译本的戏剧双重性的最佳兼顾，展示了英氏炉火纯青的翻译艺术。本论文的意义在于指出了戏剧翻译应该正视其必然的双重性，提出了戏剧翻译策略的选择应该是两者最优融合的建议。
[Abstract]:As a special kind of literature, drama is not only the script text, but also the blueprint of stage performance. Therefore, the perspective of drama translation is bound to be different from that of general translation. The study of drama translation has a long history, and the theory of drama translation has gone through a long dispute from the 1930s to the 1990s, and is still confronted with irreconcilable polarization. One is the "text readability" school represented by the famous translation theorist Susan Bassnett, the other is the "stage performance" school represented by Patricia Barvis. Susan Bassnett demanded strict text translation and opposed using stage performance as an excuse to ignore the root of language information. Patricia Barvis believes that drama has a unique artistic effect on the stage and emphasizes that drama translation should be based on stage performance. Focusing on the polarization of drama translation, this paper attempts to explore the dual nature of dialectical unity of drama translation. The thesis first reviews the controversy in drama translation and highlights the contradiction of polarization. On the basis of functional Skopos translation theory, the author makes a full analysis of the translation of text words and the realization of stage art in drama. The author thinks that it is important to be rigorous in text. Meanwhile, functional translation theory tells us that translation is a purposeful act, and the stage functional purpose of drama should not be ignored. Drama translation is to put the text on stage, stage is the purpose of drama translation. For the purpose of the stage function of the target language, drama translation should be different from the translation of general text, which should be based on the translation of the text and take its performance into account. This paper argues that text and stage performance are equally important in drama translation and should be a dynamic fusion rather than one or the other and one must be abandoned. This paper further analyses and points out that, on the one hand, we should make the maximum information transformation in the adaptation of cultural context, and at the same time, under the restriction of stage effect, we should adjust the text and highlight its performance. In order to achieve the best combination of two aspects. Finally, taking the two English versions of Lao She's Teahouse, Ying Ruocheng and Huohua, as the contrastive version, this paper analyzes the best consideration of the duality of the English translation, and demonstrates the fine translation art of the English version. The significance of this thesis is to point out that drama translation should face up to its inevitable duality and propose that the choice of drama translation strategies should be the best combination of the two.
【学位授予单位】：西北工业大学
【学位级别】：硕士
【学位授予年份】：2006
【分类号】：H059;I046
本文编号：2307001
[Abstract]:As a special kind of literature, drama is not only the script text, but also the blueprint of stage performance. Therefore, the perspective of drama translation is bound to be different from that of general translation. The study of drama translation has a long history, and the theory of drama translation has gone through a long dispute from the 1930s to the 1990s, and is still confronted with irreconcilable polarization. One is the "text readability" school represented by the famous translation theorist Susan Bassnett, the other is the "stage performance" school represented by Patricia Barvis. Susan Bassnett demanded strict text translation and opposed using stage performance as an excuse to ignore the root of language information. Patricia Barvis believes that drama has a unique artistic effect on the stage and emphasizes that drama translation should be based on stage performance. Focusing on the polarization of drama translation, this paper attempts to explore the dual nature of dialectical unity of drama translation. The thesis first reviews the controversy in drama translation and highlights the contradiction of polarization. On the basis of functional Skopos translation theory, the author makes a full analysis of the translation of text words and the realization of stage art in drama. The author thinks that it is important to be rigorous in text. Meanwhile, functional translation theory tells us that translation is a purposeful act, and the stage functional purpose of drama should not be ignored. Drama translation is to put the text on stage, stage is the purpose of drama translation. For the purpose of the stage function of the target language, drama translation should be different from the translation of general text, which should be based on the translation of the text and take its performance into account. This paper argues that text and stage performance are equally important in drama translation and should be a dynamic fusion rather than one or the other and one must be abandoned. This paper further analyses and points out that, on the one hand, we should make the maximum information transformation in the adaptation of cultural context, and at the same time, under the restriction of stage effect, we should adjust the text and highlight its performance. In order to achieve the best combination of two aspects. Finally, taking the two English versions of Lao She's Teahouse, Ying Ruocheng and Huohua, as the contrastive version, this paper analyzes the best consideration of the duality of the English translation, and demonstrates the fine translation art of the English version. The significance of this thesis is to point out that drama translation should face up to its inevitable duality and propose that the choice of drama translation strategies should be the best combination of the two.
【学位授予单位】：西北工业大学
【学位级别】：硕士
【学位授予年份】：2006
【分类号】：H059;I046
【引证文献】
相关硕士学位论文 前1条
1 郭黎阳;期待视野理论视角下《茶馆》两个英译本的实证研究[D];大连外国语学院;2011年
本文编号：2307001
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