本文選題：黃哲倫 + 《中式英語(yǔ)》　； 參考：《南京師范大學(xué)》2015年碩士論文

【摘要】：近十年來(lái),國(guó)內(nèi)外學(xué)者分別從不同角度對(duì)華裔美國(guó)作家黃哲倫的族裔戲劇作品進(jìn)行了研究,但大都集中于《蝴蝶君》上,對(duì)其新近作品《中式英語(yǔ)》,學(xué)術(shù)界很少關(guān)注,尤其是對(duì)該戲劇中所特有的文化翻譯特征鮮有涉及。本文作者從文化翻譯的視角出發(fā),運(yùn)用霍米·巴巴的“雜糅”和“第三空間”概念,通過(guò)對(duì)戲劇《中式英語(yǔ)》的細(xì)讀,一方面以文化翻譯作為文學(xué)批評(píng)手段對(duì)該劇從多個(gè)方面進(jìn)行解讀,剖析其特有的后殖民色彩和文化翻譯特征；另一方面以戲劇文本為支撐,對(duì)該劇中的標(biāo)牌誤譯和主角席言的中式英語(yǔ)進(jìn)行討論。作者認(rèn)為：該劇是跨文化翻譯的一次最好實(shí)踐,劇作者通過(guò)表演文化“雜糅”,試圖構(gòu)建一個(gè)理想的能夠讓不同文化交流與共存的“第三空間”。首先,本文通過(guò)回顧黃哲倫的個(gè)人生活、文學(xué)成就以及前人對(duì)其重要戲劇的研究成果,發(fā)現(xiàn)前人在翻譯尤其是文化翻譯視角方面研究的空白,并分析了前人對(duì)《中式英語(yǔ)》這部新劇研究中理論運(yùn)用不足以及觀點(diǎn)偏頗之處。其次,作者對(duì)以霍米·巴巴為代表的后殖民主義翻譯理論體系中的基本概念進(jìn)行系統(tǒng)回顧,著重分析了構(gòu)成本文理論框架的文化翻譯理論之“雜糅”與“第三空間”兩大概念。再次,本文將文化翻譯作為文學(xué)批評(píng)的手段,從不同角度對(duì)該戲劇進(jìn)行分析：其一探究其中包含的后殖民色彩,挖掘劇作家的“被翻譯的人”這種移民族裔身份的真相；其二重新將翻譯進(jìn)行定義,闡明黃哲倫的跨文化寫作本質(zhì)上是一種翻譯形式,并揭示出劇作家將后殖民主義文本中特有的寫作風(fēng)格--“寫中有譯”融入該劇創(chuàng)作：其三在“雜糅”概念的指引下,檢視該戲劇的文化翻譯特征,著重探討了該劇在文化、語(yǔ)言及意識(shí)這三方面的雜糅現(xiàn)象；其四基于“雜糅”概念,剖析劇中出現(xiàn)的幾位譯員在進(jìn)行翻譯過(guò)程中,對(duì)自己“雜糅的文化身份”定位失敗的原因,并指出一種存在于在“第三空間”的解決途徑。然后,本文作者將視角從文學(xué)批評(píng)轉(zhuǎn)向翻譯批評(píng),進(jìn)而以《中式英語(yǔ)》這一特殊的文學(xué)文本為支撐,著力從跨文化翻譯的角度,對(duì)《中式英語(yǔ)》中標(biāo)識(shí)牌誤譯現(xiàn)象和劇中主要人物席言的中式英語(yǔ)進(jìn)行研究。在以上研究的基礎(chǔ)上,論文最后得出結(jié)論：黃哲倫的《中式英語(yǔ)》利用了“第三空間”的“雜糅”理論,是跨文化翻譯的一次具體實(shí)踐。在此過(guò)程中,他使用了歸化和異化的翻譯策略,將中西文化雜糅,以消解英語(yǔ)的霸權(quán)地位；在這部戲劇中,黃哲倫構(gòu)建了一個(gè)理想的“第三空間”,使不同文化在其間平等交流,和諧共存。
[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.
【學(xué)位授予單位】：南京師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2015
【分類號(hào)】：I712.073

【參考文獻(xiàn)】

相關(guān)期刊論文 前1條

1 湯偉;;我看兩部藝術(shù)劇[J];語(yǔ)文教學(xué)與研究;2012年28期

，

本文編號(hào)：1981696