可表演性理论下曹禺《柔蜜欧与幽丽叶》译本研究

发布时间：2018-01-12 23:17

本文关键词：可表演性理论下曹禺《柔蜜欧与幽丽叶》译本研究　出处：《天津工业大学》2017年硕士论文　论文类型：学位论文

【摘要】：翻译是一种人类行为,所以翻译具有目的性。戏剧翻译是服务于目的语的戏剧表演,所以可表演性成为衡量戏剧翻译是否成功的重要原则。可表演性这—术语最早被巴斯奈特运用到戏剧翻译理论中,在过去一段时间内,成为了戏剧翻译研究者们讨论的最为活跃的话题。基于学者们对可表演性理论的论述,本文尝试建立一个可行的理论框架,分别从可读性,动作性和可接受性三个方面来分析研究戏剧译本是否符合可表演性的特点。曹禺于1942年着手翻译了莎士比亚的剧作《罗密欧与朱丽叶》,其译本主要是为了舞台演出,在目的语中实现译本的可表演性。他的译本不仅考虑到了戏剧语言的翻译,还创造性的添加了舞台指示来实现舞台效果。除此之外,他还考虑到了观众的反应以及心理活动等等。本文针对曹禺的译本进行研究由六部分组成。引言部分介绍了研究背景,研究目的,研究问题,研究方法以及研究意义。其中第一个研究问题是:在曹禺译文中,可表演性原则的三个方面具体是如何体现的,第二个研究问题是:在可表演性指导下,通过对曹禺译本的分析,可以得出哪些用于指导戏剧翻译的原则。第二章重点介绍之前关于戏剧翻译以及可表演性原则的研究,曹禺研究和曹禺戏剧研究,对《罗密欧与朱丽叶》的研究以及曹禺译本《柔蜜欧与幽丽叶》研究,最后是关于《罗密欧与朱丽叶》的原本可表演性研究以及现有研究的局限。第三章详细论述戏剧界的曹禺,分别论述了曹禺曾经担当演员,导演,诗人,戏剧家和戏剧翻译家的角色,除此之外,还分析了曹禺的翻译理论和翻译实践活动。第四章基于前人对戏剧翻译可表演性的论述为下文建立了论文的理论框架。第五章在可表演性原则的指导下,分别从可读性,动作性和可接受性来分析研究曹禺译本中可表演性的体现。曹禺译本中戏剧语言主要体现出了口语化语言和性格化语言来表现可读性。曹禺译本中的舞台指示主要从对环境,人物性格和动作三方面来体现舞台指示的动作性。曹禺译本中的可接受性不仅体现在戏剧语言中的文化负载词的翻译和人名的翻译处理。最后一部分,指出了曹禺译本成功的原因以及本文的局限性。
[Abstract]:Translation is a kind of human behavior, so translation is purposeful. Drama translation is a theatrical performance serving the target language. Therefore, expressiveness has become an important principle to measure the success of drama translation. The term "expressiveness" was first applied to the theory of drama translation by Basnette for a period of time. It has become the most active topic discussed by drama translation researchers. Based on the scholars' exposition on the theory of expressiveness, this paper attempts to establish a feasible theoretical framework from the perspective of readability. In 1942, Cao Yu began to translate Shakespeare's plays Romeo and Juliet. The main purpose of his translation is to perform on stage and to realize the expressiveness of the translation in the target language. His translation not only takes into account the translation of the drama language. Also creatively added stage instructions to achieve stage effects. He also takes into account the audience's reaction and psychological activities. The study of Cao Yu's translation consists of six parts. The introduction introduces the background, purpose and problems of the study. The first question is how to embody the three aspects of the principle of expressiveness in Cao Yu's translation, and the second question is: under the guidance of expressiveness. Through the analysis of Cao Yu's translation, we can find out which principles are used to guide the translation of drama. Chapter two focuses on the previous studies on drama translation and the principle of expressiveness, the study of Cao Yu and the study of Cao Yu's drama. The study of Romeo and Juliet and Cao Yu's translation of Romeio and Youliye. Finally, it is about the original performance of Romeo and Juliet, and the limitations of the existing research. Chapter three discusses Cao Yu in the theatrical field in detail. The role of a dramatist and a dramatic translator, other than that. It also analyzes Cao Yu's translation theory and translation practice. Chapter 4th establishes the theoretical framework of the thesis based on his predecessors' exposition on the expressiveness of drama translation. Chapter 5th is guided by the principle of expressiveness. Separately from readability. Action and acceptability to analyze and study the expressiveness in Cao Yu's translation. The drama language in Cao Yu's translation mainly embodies oral language and personality language to express readability. Stage indicator in Cao Yu's version. To the environment. The acceptability of Cao Yu's translation is not only reflected in the translation of culture-loaded words in drama language and in the translation of human names, but also in the final part. The author points out the reasons for the success of Cao Yu's translation and the limitations of this paper.
【学位授予单位】：天津工业大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：H315.9;I046

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