第三空间中的文化杂糅—黄哲伦《中式英语》的文化翻译研究

发布时间：2018-06-05 10:41

本文选题：黄哲伦 + 《中式英语》　；参考：《南京师范大学》2015年硕士论文

【摘要】：近十年来,国内外学者分别从不同角度对华裔美国作家黄哲伦的族裔戏剧作品进行了研究,但大都集中于《蝴蝶君》上,对其新近作品《中式英语》,学术界很少关注,尤其是对该戏剧中所特有的文化翻译特征鲜有涉及。本文作者从文化翻译的视角出发,运用霍米·巴巴的“杂糅”和“第三空间”概念,通过对戏剧《中式英语》的细读,一方面以文化翻译作为文学批评手段对该剧从多个方面进行解读,剖析其特有的后殖民色彩和文化翻译特征；另一方面以戏剧文本为支撑,对该剧中的标牌误译和主角席言的中式英语进行讨论。作者认为：该剧是跨文化翻译的一次最好实践,剧作者通过表演文化“杂糅”,试图构建一个理想的能够让不同文化交流与共存的“第三空间”。首先,本文通过回顾黄哲伦的个人生活、文学成就以及前人对其重要戏剧的研究成果,发现前人在翻译尤其是文化翻译视角方面研究的空白,并分析了前人对《中式英语》这部新剧研究中理论运用不足以及观点偏颇之处。其次,作者对以霍米·巴巴为代表的后殖民主义翻译理论体系中的基本概念进行系统回顾,着重分析了构成本文理论框架的文化翻译理论之“杂糅”与“第三空间”两大概念。再次,本文将文化翻译作为文学批评的手段,从不同角度对该戏剧进行分析：其一探究其中包含的后殖民色彩,挖掘剧作家的“被翻译的人”这种移民族裔身份的真相；其二重新将翻译进行定义,阐明黄哲伦的跨文化写作本质上是一种翻译形式,并揭示出剧作家将后殖民主义文本中特有的写作风格--“写中有译”融入该剧创作：其三在“杂糅”概念的指引下,检视该戏剧的文化翻译特征,着重探讨了该剧在文化、语言及意识这三方面的杂糅现象；其四基于“杂糅”概念,剖析剧中出现的几位译员在进行翻译过程中,对自己“杂糅的文化身份”定位失败的原因,并指出一种存在于在“第三空间”的解决途径。然后,本文作者将视角从文学批评转向翻译批评,进而以《中式英语》这一特殊的文学文本为支撑,着力从跨文化翻译的角度,对《中式英语》中标识牌误译现象和剧中主要人物席言的中式英语进行研究。在以上研究的基础上,论文最后得出结论：黄哲伦的《中式英语》利用了“第三空间”的“杂糅”理论,是跨文化翻译的一次具体实践。在此过程中,他使用了归化和异化的翻译策略,将中西文化杂糅,以消解英语的霸权地位；在这部戏剧中,黄哲伦构建了一个理想的“第三空间”,使不同文化在其间平等交流,和谐共存。
[Abstract]:In the past ten years, scholars at home and abroad have studied the ethnic drama works of Chinese American writer Hwang Zhelun from different angles, but most of them are concentrated on the Butterfly King. The academic circles pay little attention to his recent work Chinglish. In particular, the unique cultural translation features of the play are rarely involved. From the perspective of cultural translation, the author makes use of the concepts of "hybridity" and "third space" of Homi Baba, and reads Chinglish in detail. On the one hand, cultural translation is used as a means of literary criticism to interpret the play from many aspects and analyze its unique postcolonial color and cultural translation characteristics; on the other hand, it is supported by the dramatic text. This paper discusses the translation of signs in the play and Chinglish of the protagonist Xi Yan. The author holds that the play is a best practice in cross-cultural translation. The author tries to construct an ideal "third space" for the communication and coexistence of different cultures through the "hybridity" of the performing culture. Firstly, by reviewing Huang Zhelun's personal life, literary achievements and the achievements of his predecessors in his important plays, the author finds out that the previous studies on translation, especially cultural translation, are blank. It also analyzes the lack of theoretical application and bias in the previous research on Chinglish. Secondly, the author makes a systematic review of the basic concepts in the postcolonial translation theory system represented by Homi Baba, focusing on the two concepts of "hybridity" and "third space" which constitute the theoretical framework of this thesis. Thirdly, this paper takes cultural translation as a means of literary criticism, and analyzes the drama from different angles: first, it explores the postcolonial color contained in it, and explores the truth of the immigrant ethnic identity of the dramatist "the person who has been translated"; Secondly, the definition of translation is redefined to clarify that Huang Zhelun's cross-cultural writing is essentially a form of translation. It also reveals that the playwright integrates the unique writing style of the postcolonial text into the drama creation: thirdly, under the guidance of the concept of "hybridity", examines the cultural translation characteristics of the play, and probes into the culture of the play. The fourth part, based on the concept of "hybridity", analyzes the reasons why several interpreters in the play failed to position themselves as "mixed cultural identity" in the process of translation. It also points out a solution in the third space. Then, from the perspective of literary criticism to translation criticism, the author focuses on cross-cultural translation, supported by Chinglish, a special literary text. This paper studies the phenomenon of sign mistranslation in Chinglish and the Chinglish of the main characters in the play. On the basis of the above research, the thesis concludes that Huang Zhelun's Chinglish (Chinglish) is a concrete practice of cross-cultural translation, which makes use of the "hybridity" theory of "the third Space". In the process, he uses the translation strategies of domestication and alienation to mix the Chinese and western cultures in order to eliminate the hegemonic position of English. In this play, Huang Zhelun constructs an ideal "third space". To make different cultures communicate equally and coexist harmoniously.
【学位授予单位】：南京师范大学
【学位级别】：硕士
【学位授予年份】：2015
【分类号】：I712.073

【参考文献】