从“译味”看莎剧Hamlet的汉译——以朱生豪、梁实秋、王宏印和黄国彬译本“戏中戏”译文为例

发布时间：2018-01-06 05:32

本文关键词：从“译味”看莎剧Hamlet的汉译——以朱生豪、梁实秋、王宏印和黄国彬译本“戏中戏”译文为例　出处：《外语教学》2017年05期 　论文类型：期刊论文

【摘要】："译味"是文学翻译的重要特征,莎剧汉译的"味"主要体现为"戏味",涉及翻译的创造性、现代化取向和自然汉语运用等。以莎剧Hamlet的朱生豪、梁实秋、王宏印和黄国彬四部译本中"戏中戏"译文为例,考察了诸译本译味问题。就译味而言,朱译形式整齐,多用双行韵诗体,雅俗兼备,有明显的戏剧效果追求;梁译的语义准确性较好,但文体区分度和文采弱于朱译,戏味稍弱;王译汲取了朱译和梁译的长处并有自己的独到理解和独特创造,文气更足、戏味更浓;黄译对原文英雄双行体部分全部采用双行韵模式,因倾向于概念性翻译,译味不够。
[Abstract]:"The taste" is an important feature of literary translation, translating Shakespeare's "taste" is mainly embodied in "drama taste", involving creative translation, orientation and natural language modernization. Aisha opera Hamlet Zhu Shenghao, Liang Shiqiu, Wang Hongyin and Huang Guobin four versions of Play-within-a-play in translation as an example and review some translation problems. It taste taste, Zhu translation form neat, with double rhyme style, elegance and the pursuit of obvious dramatic effect; good semantic accuracy beam translation, but the literary style and indexing was weaker than that of Zhu, Wang translation play taste disease; learn from the Zhu Yihe beam the strengths and have their own unique understanding and unique creation, Wen Qi foot, play taste thicker; Huang translation of the original heroic couplets used in all parts of double line rhyme pattern, have a tendency to conceptual translation, translation of taste is not enough.

【作者单位】：鲁东大学外国语学院;
【基金】：教育部人文社会科学研究基金项目“基于认知语言学的文本翻译研究及应用”(项目编号:13YJC740146)的部分研究成果
【分类号】：H315.9;I046
【正文快照】： 1.引言莎剧作为世界文学名著的一部分,具有永久的人文价值,是现代人精神生活中不可或缺的食粮。20世纪美国伟大的文论家布鲁姆(布鲁姆2011:35)认为,莎士比亚是西方经典的中心,而这至少部分是因为其戏剧The Tragedy ofHamlet,Prince of Denmark(简称Hamlet)的主人公Hamlet(以下

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