目的论与戏剧翻译浅析莎士比亚名剧Measure for Measure的三个中文译本.docx

1、目的论与戏剧翻译 浅析莎士比亚名剧Measure for Measure的三个中文译本目的论与戏剧翻译 _ 浅析莎士比亚名剧Measure for Measure的三个中文译本 提要 众所周知,戏剧作为一种特殊的文学体裁,还同时具有舞台表演的特性,这导致了戏剧翻译中的一对矛盾:是将源文本的文化特征淋漓尽致地表达出来,还是为舞台表演牺牲部分文化因素?研究并解决这一矛盾成为当前戏剧翻译研究的重中之重。而纵观中外翻译史,翻译界对戏剧翻译所作的研究为数并不多,且缺乏系统的理论指导,对戏剧中这一矛盾的关注更是不够。本文尝试从目的论出发来审视这一矛盾,以目的论为研究的理论框架,试图证明目的论对研究和解决戏

2、剧翻译中的矛盾行之有效,在戏剧翻译中意义重大。 作为文学艺术和舞台艺术的结合体,戏剧具有双重性。这种双重性使得传统翻译理论难以指导或评估戏剧翻译。而目的论主张翻译目的为翻译活动中的首要决定因素,这为翻译研究,特别是戏剧翻译研究开拓了新的视野。只要译文实现了既定翻译目的,那么该译本就算是成功的译本。为验证目的论在戏剧翻译中的可行性,本文运用该理论评价莎士比亚“Measure for Measure”的三个中文译本,以期从成功的翻译实践中找到有益启示。 全文由五个章节构成。第一章对戏剧进行全面介绍,总结戏剧语言的特性,进一步指出戏剧翻译中的矛盾,并回顾了翻译界的相关研究。第二章引进目的论的理论框架

3、,阐明其主要概念及其对戏剧翻译的特殊意义。第三章从目的论影响译者翻译方法的四个因素出发,介绍原作者莎士比亚、译者梁实秋、朱生豪和英若诚的相关信息。第四章从目的论的角度,对三个译本进行了详尽分析,进一步验证目的论在戏剧翻译中的可行性。第五章总结目的论在戏剧翻译中的重要意义及深远影响。关键词:戏剧翻译,目的论,文学性,舞台表演 ivTABLE OF CONTENTSChapter I General Introduction to Drama and Drama Translation. 1 1.1 Definition of Drama: Literary Art & Theatrical Ar

4、t1 1.2 Features of Dramatic Language: Speakability & Individuality.2 1.3 Duality of Drama Translation: Performance-oriented & Reader-oriented.3 1.4 Relevant Study of Drama Translation5 1.4.1 Drama Translation Theories in China.5 1.4.2 Drama Translation Theories in Western Countries7Chapter II The Sk

5、opos Theory and Drama Translation. 11 2.1 Development of the Skopos Theory. 11 2.2 Two Rules of the Skopos Theory12 2.3 Five Points of the Skopos Theory.13 2.4 Factors Affecting Translators Strategies from the Skopos Theorys Standpoint.14 2.5 Significance of the Skopos theory for Drama Translation.1

6、5Chapter III Researches on Three Chinese Shakespearean translators from the Skopos Theorys Standpoint.17 3.1 William Shakespeare and his Measure for Measure.17 3.2 Liang Shiqiu and his Complete Works of Shakespeare18 3.2.1 Initiator or Commissioner18 3.2.2 Translator.19 3.2.3 Source-text Producer an

7、d Target-text Receiver21 3.3 Zhu Shenghao and his Translation of Shakespeare.22 3.3.1 Initiator or Commissioner22 3.3.2 Translator.23 3.3.3 Source-text Producer, Target-text Receiver24 3.4 Ying Ruocheng and his Drama Translation.24 3.4.1 Initiator and Translator.24 3.4.2 Source-text Producer and Tar

8、get-text Receiver26Chapter IV Sample Analysis27 4.1 Characters Names.27 4.2 Allusions.28 4.3 Metaphors.31 4.4 Idioms.34 4.5 Puns.37 4.6 Obscene Words40 4.7 Summary42Chapter V Conclusion 44BIBLIOGRAPHY 46vChapter I General Introduction to Drama and Drama Translation Drama translation is a special and

9、 distinctive branch of literary translation due to the dualistic nature of drama. Then what on earth are the unique features of drama and drama translation? We may start our discussion with a general introduction to drama and relevant study of drama translation before going any further1.1 Definition

10、 of Drama: Literary Art & Theatrical Art Originally, the word “Drama” comes from a Greek word, “dran”, meaning “thing done”, “action” or “deed”. To make it clear, the author looks up the word “drama” in several authoritative dictionaries and collects the following interpretations for further referen

11、ce:ndIn the Oxford English Dictionary 2 Edition 1989, “Drama” is “a composition in prose or verse, adapted to be acted upon a stage, in which a story is related by means of dialogue and action, and is represented with accompanying gesture, costume, and scenery, as in real life; a play”In the Encyclo

12、pedia Britannica 1964: “Drama” is “a form of art in which the artist imagines a story concerning persons and incidents without himself describing, narrating or explaining what is happening”In the Encyclopedia Americana 1986: “Drama” is “a form of literature intended for performance by actors. In gen

13、eral the subject matter is narrative in character and, in the type of story traditionally considered suitable for presentation on the stage”We may summarize the above interpretations like this: drama is a genre of literature with a story related by means of dialogue and action, and produced to be ac

14、ted upon the stage. The term “drama” is used in an inclusive way that emphasizes both its literary nature on page for the reader and its potential for performance on stage for the audience. On the one hand, it is literature whose aesthetic effect depends on a collective endeavor and the receptors re

15、sponse is mostly spontaneous and immediate. Since the play text contains stage directions and dramatic language which depict the portraits of characters and push forward the plot, we can still read the play text as any other literary works. On the other1hand, drama is “an audiovisual presentation of

16、 time and space, involving music, dance, fine arts and literary language, with the simultaneous presence of actors and audience” Lin, 1993: 4. The original intention and full potential of drama can only be brought out and realized by performing on stage. Thus the ultimate receptor of drama is supposed to be the audie