本文選題：戲劇翻譯 + 敘事　； 參考：《江蘇大學(xué)》2017年碩士論文

【摘要】：《桃花扇》是中國傳統(tǒng)戲劇明清傳奇中最杰出的作品之一,且已被國內(nèi)外著名譯者翻譯成多種版本,具有極高的研究價值。然而,無論是原文本還是譯本都未引起學(xué)者足夠的重視。為了弘揚(yáng)中國傳統(tǒng)文化、加快中國傳統(tǒng)戲劇的翻譯步伐,本研究試圖基于舞臺表演對《桃花扇》原文本及其兩個英譯本從小說化和音樂化敘事兩個角度進(jìn)行一個比較系統(tǒng)的對比研究。可表演性和上口性是戲劇的兩個主要因素。在翻譯中國傳統(tǒng)戲劇時,對原文可表演性和上口性的保留或移植在很大程度上決定了譯本是否適合用于舞臺表演。然而,先前的研究往往忽略了這兩點(diǎn),所以本研究關(guān)注《桃花扇》中《罵筵》這一出小說化敘事的可表演性以及音樂化敘事的上口性。為確保研究的客觀性和準(zhǔn)確性,本文選取了孔尚任的《桃花扇》的高潮《罵筵》一出,以許淵沖、許明以及陳世驤、阿克頓、白芝翻譯的兩個相對應(yīng)的英譯本作為案例,文中的對比研究結(jié)合了定性和定量的研究方法,并對此進(jìn)行了基于語料庫的對比研究。在研究音樂化敘事時,本文以韻律音系學(xué)作為評價體系,選取押韻,時長和音高作為三個參數(shù)來研究曲的音美,并采用了以下軟件:UltraEdit、ABBYY Finereader、TTS、Cooledit Pro以及Praat。研究發(fā)現(xiàn):首先,在小說化敘事方面,許譯本比陳譯本更好地抓住了明清傳奇中小說敘事的重點(diǎn)。許能準(zhǔn)確把握住誰是說話的對象,在敘事中需要作者或旁白的身份代入時能很好地體現(xiàn)出他們的身份。在對敘述者的心理活動進(jìn)行翻譯時,許為了讓觀眾能更深刻地理解敘事者的內(nèi)心,在翻譯時直接以觀眾為對象抒發(fā)心情。所以,對以觀眾為主的戲劇表演而言,許譯本更簡潔明了,更符合可表演性的要求。其次,在音樂化敘事方面,因?yàn)閼騽≈械臄⑹抡咄ㄟ^講故事尤其是吟唱來抒發(fā)自己的感情,所以本文選擇《罵筵》中的曲為研究對象,在句子層面上從押韻、時長、音高這三個方面來研究音樂化敘事。在押韻上,陳譯本沒有押韻的痕跡,許譯本雖然沒有遵循原文本的押韻形式,但是他選用了類似英語打油詩的“AABBA”的押韻,很好地體現(xiàn)出原文本中隱藏的自嘲含義。在時長上,陳譯本遠(yuǎn)比原文本長,而許譯本的時長與原文本非常接近�？梢娫S注重時長的變化并且盡力實(shí)現(xiàn)譯本與原文本在時長上的對等。在音高上,由于英漢兩種語言屬于不同的語言體系,譯文很難與原文本保持一致性。但是許版本的音高明顯比陳譯本低而且音高變化趨勢相對穩(wěn)定。綜上所述,許更注重語言的形美和音美,更好地實(shí)現(xiàn)了上口性。而且由于許能更好地理解敘述者的心理并且在翻譯時努力將這一細(xì)節(jié)譯出,所以許譯本在建立整出的情感基調(diào)和推動故事情節(jié)的發(fā)展上明顯優(yōu)于陳譯本。此外,許譯本也更深刻地體現(xiàn)了《桃花扇》“借離合之情,寫興亡之感”這一主題。在敘事學(xué)和韻律音系學(xué)的理論框架下,本研究從適合舞臺表演這個角度并通過語料庫手段對明清傳奇歷史劇的代表作《桃花扇》及其兩英譯本的小說化和音樂化敘事進(jìn)行了分析。這項(xiàng)研究不僅能推動中國傳統(tǒng)戲劇的翻譯研究,而且在弘揚(yáng)中國傳統(tǒng)文化中具有非常重要的意義。
[Abstract]:"Peach Blossom Fan" is one of the most outstanding works of the Chinese traditional drama Ming and Qing Dynasties, and has been translated into many versions by famous translators at home and abroad. However, both the original and the translated texts have not attracted enough attention from scholars. In order to carry forward the traditional Chinese culture and accelerate the translation of traditional Chinese drama, this is the first one. The study tries to make a comparative and systematic comparison between the peach blossom fan, the original text and the two English versions from the two angles of fiction and musicality. The performance and the upper mouth are the two main factors of the drama. To a large extent, it determines whether the translation is suitable for stage performance. However, previous studies often ignore these two points, so this study focuses on the performability of the novel narrative of "Peach Blossom Fan >" "scolding" and the upper lip of the musicize narrative. In order to ensure the objectivity and accuracy of the study, this paper selects Kong Shangren's Peach Blossom Fan. The two English translations that are translated by Xu Yuan, Xu Ming and Chen Shixiang, Acton and white Ganoderma are taken as a case. The comparative study in this article combines the qualitative and quantitative research methods, and carries out a corpus based contrast study. In the study of musicize narrative, the thesis uses metrical phonology as an evaluation. The system, selecting rhyme, length and pitch as three parameters to study the sound beauty of the music, and using the following software: UltraEdit, ABBYY Finereader, TTS, Cooledit Pro and Praat. research and discovery: first, in the novel narrative aspect, the translated version can better grasp the key of the novel narrative in the Ming and Qing Dynasties. Who is the object of speech, which requires the identity of the author or the narrator in the narrative to reflect their identity. In the translation of the narrator's psychological activities, the audience can understand the heart of the narrator more deeply and express the mood directly with the audience in the translation. So, to the audience based drama. In terms of performance, the translated version is more concise and more able to meet the performance requirements. Secondly, in the aspect of musicize narrative, the narrators in the drama express their feelings by telling stories, especially singing, so this paper chooses the music in "scolding" as the research object, and studies the three aspects of the sentence level from rhyme, time length and pitch. In the rhyme, there is no trace of rhyme in the rhyme. Although the translated version does not follow the rhyme form of the original text, he chooses the rhyme of "AABBA", which is similar to the English oil, and shows the hidden meaning of self mockery in the original text. In the long time, the old version is far more than the original text, and the length and the original version of the translated version is the original. This is very close. We can see the change in time and try to realize the equivalence between the translation and the original text. In the pitch, because the English and Chinese two languages belong to different language systems, the translation is difficult to keep consistent with the original version. However, the pitch of the promised version is obviously lower than the old version and the trend of pitch change is relatively stable. As a result, he pays more attention to the beauty of the language and the beauty of the sound, and makes it better to reach the mouth. And because it can better understand the narrator's psychology and try to translate it in the translation, the translated version is obviously better than the old version in the establishment of the whole emotional tone and the development of the story plot. Under the theoretical framework of narratology and rhythmic phonology, this study analyzes the novel and musical narration of the representative works of the legendary historical plays of Ming and Qing Dynasties and their two English translations in the theoretical framework of narrative and rhythmic phonology. This study not only promotes the translation study of Chinese traditional drama, but also plays a very important role in promoting Chinese traditional culture.

【學(xué)位授予單位】：江蘇大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：H315.9

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