目的论视角下的戏剧翻译以英若诚《茶馆》英译本为例毕业论文.docx
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目的论视角下的戏剧翻译以英若诚《茶馆》英译本为例毕业论文.docx
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目的论视角下的戏剧翻译以英若诚《茶馆》英译本为例毕业论文
唐山师范学院
学士学位论文
题目:
目的论视角下的戏剧翻译
-以英若诚《茶馆》英译本为例
所在系部:
外语系
专业:
英语
班级:
2010级
完成时间:
2012年5月
唐山师范学院
OnDramaTranslationfromSkoposTheoryPerspective
-ACaseStudyofYingRuocheng’sTranslationofTeahouse
QiAiying
AGraduationThesisSubmittedto
ForeignLanguageDepartmentofTangshanTeachersUniversity
InPartialFulfillmentoftheRequirements
FortheDegreeofB.A.
Tutor:
LiFeng
Specialty:
English
Direction:
Translation
Tangshan,HebeiProvince
May,2012
郑重声明
本人的毕业论文(设计)是在指导教师李丰的指导下独立撰写完成的。
如有剽窃、抄袭、造假等违反学术道德、学术规范和侵权的行为,本人愿意承担由此产生的各种后果,直至法律责任,并愿意通过网络接受公众的监督。
特此郑重声明。
毕业论文(设计)作者(签名):
齐爱营
2012年5月23日
Acknowledgements
Firstofall,Iwouldliketoextendmysinceregratitudetomytutor,Mr.LiFeng,forhisinstructiveadviceandusefulsuggestionsonmythesis.Iamdeeplygratefulofhishelpinthecompletionofthisthesis.Hehasspentmuchtimereadingthrougheachdraftandprovidedmewithinspiringadvices.Withouthispatientinstruction,insightfulsupervisionandexpertguidance,thecompletionofthisthesiswouldnothavebeenpossible.
Ialsooweaspecialdebtofgratitudetoalltheprofessorsinforeignlanguagesinstitute,fromwhosedevotedteachingandenlighteninglecturesIhavebenefitedalotandacademicallypreparedforthethesis.
Ifinallyliketoexpressmygratitudetomybelovedparentswhohavealwaysbeenhelpingmeoutofdifficultiesandsupportingmewithoutacomplaint.
Thelastbutnottheleast,Iowemuchtomyfriendsandroommatesfortheirvaluablesuggestionsandcritiqueswhichareofhelpandimportanceinmakingthethesisareality.
摘要
剧作家在独自完成自己的创作后,其作品能长期地流传下去,但戏剧演出却是一次性的瞬间艺术。
因此,戏剧翻译以舞台表演为目的才能达到舞台演出的最佳效果,并最大限度地满足观众的需求。
目的论是由德国语言学家汉斯.弗米尔提出而后在十九世纪七十年代后期发展起来。
本文引入目的论尝试探究以表演为目的的戏剧翻译。
目的论指出翻译是一种人类的行为活动,而且是有目的的行为活动。
这种行为的结果则是译文。
目的原则是整个翻译过程中最主要的原则。
因此,一个优秀的译文应当能最大限度地满足翻译目的。
翻译者可以选择可行的翻译策略来达到其翻译目的。
戏剧《茶馆》是我国现代著名小说家,戏剧家老舍杰出的代表作。
1979年,著名表演艺术家英若诚把《茶馆》翻译成英文,为茶馆访问欧洲作了准备。
本文以英若诚英译本《茶馆》为例,详细分析英若诚以舞台表演为目的的戏剧翻译。
一部戏到底如何,得在舞台上看。
本文要突破的问题是运用意译和归化的翻译技巧和策略,分别从语言和文化两个角度阐述英若诚以舞台表演为中心的戏剧翻译。
作者希望能够对翻译研究(包括戏剧翻译)有所裨益,并为读者提供新的视角。
关键词:
戏剧翻译;目的论;《茶馆》
Abstract
Afterthecompletionbytheplaywright,hisworkscouldbeconveyedgenerationtogenerationforalongtime.However,dramaperformanceisaformofartwhichfeaturesshortnessandinstance.Therefore,onlydramatranslationwhichfocusesondramaorstageperformancecanachievethebesteffectandsatisfytheaudiencestothegreatestextent.
SkopostheorywasputforwardbyGermanlinguistHansVermeerandthendevelopedinthelate1970s.ThisthesisattemptstomakeatentativestudyofdramatranslationfromtheperspectiveofSkopostheory.SkoposTheorypointsoutthattranslationisahumanactionwithaspecificpurposewhoseoutcomeisthetranslatedworks.AccordingtoSkoposTheory,skoposprincipleistheprimetranslationprincipleintheprocessoftranslation.Asaconsequence,anexcellenttranslatedworkmustcomplywiththetranslationpurposeasmuchaspossible.Thetranslatorcanchooseanyreasonabletranslationstrategywhichisconsideredsuitabletoachievehispurpose.
DramaTeahouseisadistinguishedmasterpieceoffamousmodernwriteranddramatistLaoShe.In1979,awell-knownperformingartistYingRuochengtranslateditintoEnglishversion,pavingthewayforitslatervisittoEurope.ThisthesistakesYingRuocheng’sEnglishversionofTeahouseasanexampleandmakesadetailedanalysisofdramatranslationfromtheperspectiveofthestageperformance.Aplayhastobeperformedonstagebeforetheevaluationwhetheraplayisasuccessornot.
ThemainpointinthisthesisistomakeananalysisofYingRuocheng’sperformance-orienteddramatranslationfromlinguisticandculturalaspectsbyusingliberaltranslationmethodanddomesticationstrategy.Theauthorhopesthatthispaperwillmakealittlecontributiontothetranslationstudy(dramatranslationincluded),andbringsomenewinsightstothereaders.
Keywords:
dramatranslation;Skopostheory;Teahouse
Contents
Introduction1
ChapteroneDramaandDramaTranslation3
1.1Anintroductionofdrama3
1.2AbriefsummaryofdramaTeahouse4
1.3YingRuochengandhistranslationofTeahouse5
ChapterTwoAnOverviewofSkoposTheory6
2.1Vermeer’sSkopostheory6
2.2Skopostheoryindramatranslation7
2.3YingRuocheng’sperformance-orientationandSkopostheory8
ChapterThreeAnalysisofYingRuocheng’sTranslationMethodandStrategyofTeahouse10
3.1Liberaltranslationfromthelinguisticperspective10
3.1.1Onwordlevel10
3.1.2Onsentencelevel12
3.2Domesticatingtranslationfromtheculturalperspective13
3.2.1Reflectionofreligiousculture14
3.2.2Reflectionofmaterialculture14
3.2.3Reflectionofsocialculture15
Conclusion17
Bibliography18
Introduction
Asaspecialgenre,dramaisaperformingartaswellasaliteraryart.Theword“Drama”comesfromdraninGreek,whichmeans“action”and“thingdone”.InOxfordAdvancedLearner’sEnglish-ChineseDictionary:
“Drama”isatermofplayforthetheatre,radioandTV.Itisalsoatermofplaysasabranchofliteratureandasaperformingart.(2002:
437)InChina,therearemanyclassicalandexcellentdramaworks.AsimilarcaseisTeahousewhichiswrittenbyLaoShewhoisoneofthemostrenownedcontemporaryChinesewriters.TeahousewasfirsttranslatedbyYingRuochengin1979whenBeiJingPeople’sArtTheatrewasinvitedtodeliverperformanceinEurope.YingRuochengisnotonlyawell-knownartistofperformancebutalsoanoutstandingtheatredirector.Moreover,hehasagoodcommandofEnglishandforeignliterature.
SkopostheoryisanapproachtotranslationdevelopedinGermaninthelate1970swhichisanessentialtheoryintranslationtheories.Itviewstranslationasaspecificformofhumanaction.Thereisnodoubtthatdramatranslationisalsoahumanactionwithaspecificpurpose.
Thisthesisintendstoanalyzetheperformance-orienteddramatranslationfromthepointviewofSkopostheory.TheauthorselectsliberaltranslationmethodanddomesticatingtranslationstrategytoverifyYingRuocheng’sperformance-orienteddramatranslationfromlinguisticandculturalaspects.Liberaltranslationconveysthetruemeaningandspiritoftheoriginalwithouttryingtoreproduceitssentencepatternsorwordform.Domesticatingtranslationisatransparent,fluentstylewhichisadoptedinordertominimizethestrangenessoftheforeigntextfortargetlanguagereader.Asamatteroffact,YingRuocheng’sdramatranslationismainlyaboutthistwotranslationmethodandstrategy.
Thisthesisconsistsofthreeparts:
Inchapterone,firstofall,itmakesabriefintroductionofdramaandconcernsaboutitsdefinition,classificationandusage.ThenitintroducesLaoSheandhisdramaTeahouseindetail.Atlast,itmentionstheEnglishversionofTeahouse,whichistranslatedbyYingRuochengandthenfollowedbyhispersonalintroduction.
Inchaptertwo,theauthormainlyfocusesontheSkopostheoryandwithmuchcontentaboutdramatranslationinSkopostheory.Intheend,theauthoremphasizesYingRuocheng’sperformance-orientationfromtheperspectiveofSkopostheory.
Inchapterthree,itprovidesadetailedanalysisofYingRuocheng’sperformance-orienteddramatranslationfromlinguisticandculturalaspects.Theauthorselectedliberaltranslationanddomesticatingtranslationastranslationstrategytocertifyagoodtranslationisincomplywithitstranslationpurpose.
Finally,theauthormakesaconclusionandrestatestheinfluenceofSkopostheoryonthetranslationofTeahouse.Whenturningtodramatranslation,translatorsapplysuitablestrategiestofulfilltheirprimaryskoposwhichwillmakethetranslationanexcellentandsuccessfulone.
ChapteroneDramaandDramaTranslation
Asaspecialliterarygenre,dramamakestranslationbecomeadifficulttask.Itisnecessaryforustoknowaboutthedefinitionandclassificationofdrama.Inthischapter,theauthorpicksupLaoShe’sexcellentdramaworksasanexampleandmakesadetailedintroductionofYingRuochengandhisEnglishversionofTeahouse.
1.1Anintroductionofdrama
Theword“Drama”comesfromdraninGreek,whichmeans“action”and“thingdone”.OscarG.BrockettinhisbookTheTheatre:
AnIntroductionwritesthatdramais“oneoftheartsofthetheatre-thatconcernedwithcreatingascenario,over-allplanorcompletescript(includingalldialoguesanddirectionsforactionandstageeffects)asabasisforperformance.”(Brockett,1974:
7)
Therearemanyformsoftheatricalperformances,themostcommononescontainingspokendrama(huaju),opera,ballet,musicaltheater,puppetshowsandsoon.Dramaisakindofcomprehensiveperformingartbymeanofliterature,music,danceandartsoastocreatetheartisticimageofstage,disclosingsocialcontradictionandreflectingreallife.Dramaisaspecialliterarygenre,whichhasitsownlanguagecharacterandtranslationtheory.Thus,differingfrom“play”and“theatre”,dramaisatermgenerallyusedtorefertoaliteraryforminvolvingpartswrittenforactorstoperform.
Inourcountry,dramaisgenerallyincludingtheater,spokendrama(huaju)andopera.Thetermsometimesparticularlyreferstospokendrama.Accordingtothetypeofworks,dramacanbedividedintotragedy,comedyandseriousplayandsoon;dramacanbedividedintohistoricalplay,moderncostumeandpantomimeaccordingtothesubjectmatter.
Oneofthemainreasonsfordrama’ssurvivalinEuropeforhundredsofyearsisthatdramahascultivatedfromgenerationtogeneration.Chinesespokendramaderivesfromwesterndramawhichhasalready
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- 关 键 词:
- 茶馆 目的论 视角 戏剧 翻译 英若诚 译本 毕业论文