从Death of a Salesman三个中译本的对比研究看戏剧翻译的对话性

摘要

目前国内外关于戏剧翻译的研究已逐渐深入,概括来讲,主要从翻译目的、动态表演原则、可表演性原则、观众中心原则作为研究的出发点,似乎将重心过度地放在受众方,戏剧翻译不能单纯地从观众角度考虑,其研究不应该仅停留在戏剧翻译要不要可表演性上,本文将参与戏剧翻译活动的各对话主体之间的互动关系视为一个同时的整体进行研究,旨在为戏剧翻译寻求一种新的研究角度。
　　 本文主要阐述了对话理论对戏剧翻译的启示意义,分析了戏剧翻译活动中各对话主体间存在着对话性的因为,并探讨了对话性在Death of a Salesman三个中译本里的具体体现及其对该剧翻译的影响。对话性是指具有同等价值的不同意识之间相互作用的特殊形式。将对话性应用在翻译领域中,从宏观角度讲翻译可视为源语和目的语之间进行的一场文化“大对话”,从微观角度来讲则是指原作者、译者、译文读者三个交际对象以原作和译作两个文本为基础、对所有与翻译相关的问题开展的多次对话。本文取其微观之意,并根据戏剧的独特特点,将其对话主体扩充为剧作家、译者、剧场执业人员、读者/观众,通过对Death of a Salesman三个中译本进行对比分析,考察了三位译者分别与剧作家、目的读者/观众以及剧场执业人员之间的对话。其中三位译者与剧作家、目的读者/观众之间的对话分别从语言和文化两个方面进行对比分析；三位译者与剧场执业人员之间的对话则通过舞台说明的翻译情况展开讨论。在做具体分析时,本文选取了若干典型例子,列出其在三个中译本里的不同译文,然后找出它们之间存在的差异,考察三位译者所采用的不同翻译策略及其考虑的不同因素,以此探求戏剧翻译的对话性。
　　 通过三个中译本的对比研究,结合相关理论分析,本文得出如下结论:1)戏剧翻译是具有平等地位的剧作家、译者、剧场执业人员及读者/观众之间同时发生的一场多声部的对话。2)所有对话主体间存在的互动与对话揭示着戏剧翻译中对话性的存在,所有对话主体之间的对话性构成了戏剧译本整体性的必要元素。3)当对话主体发生变化时,其对话性也相应发生改变,同一剧本在由同一目的语译成的文本中表现也不尽相同,译者在进行戏剧翻译时必须充分考虑到当时当地翻译活动主体之间的对话性,有选择性地采取相应的翻译策略。

目录

文摘

英文文摘

List of Tables

Abbreviations

Chapter 1 Introduction

1.1 Research Significance

1.2 Purpose of the Research

1.3 Research Questions

1.4 A Brief Description of the Methodology

1.5 Organization of the Thesis

Chapter 2 Literature Review and Theoretical Basis

2.1 Researches on Drama Translation

2.1.1 Definition of Drama Translation

2.1.2 The Characteristics of Dramatic Language

2.1.3 Researches on Drama Translation Strategies

2.1.4 Limitations of the Current Researches on Drama Translation

2.2 Dialogicality and Its Application in the Researches of Drama Translation

2.2.1 The Notion of Dialogism

2.2.2 Dialogicality and Its Theoretical Inspirations

2.2.3 The Application of Dialogicality in the Researches of Drama Translation

2.3 Previous Studies on the Three Chinese Versions of Death of a Salesman

2.4 Summary

Chapter 3 Dialogicality in the Three Chinese Versions of Death of a Salesman

3.1 Death of a Salesman and Its Three Chinese Versions

3.1.1 Arthur Miller and Death of a Salesman

3.1.2 Yao Ke and His Translated Death of a Salesman

3.1.3 Chen Liang-ting and His translated Death of a Salesman

3.1.4 Ying Ruo-cheng and His Translated Death of a Salesman

3.2 Dialogue between the Translator and the Playwright

3.2.1 Dialogue in Translating Dramatic Dialogues at the Linguistic Level

3.2.2 Dialogue in Translating Dramatic Dialogues at the Cultural Level

3.3 Dialogue between the Translator and Practitioners

3.3.1 Dialogue in Translating the Stage Directions at the Beginning and Ending Parts of the Play

3.3.2 Dialogue in Translating the Stage Directions within the Dramatic Lines

3.4 Dialogue between the Translator and the Target Reader/Audience

3.4.1 Dialogue in Translating Dramatic Dialogues at the Linguistic Level

3.4.2 Dialogue in Translating Dramatic Dialogues at the Cultural Level

Conclusion

References

Appendix 详细中文摘要

Acknowledgements