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1、上海交通大学 硕士学位论文 莎士比亚戏剧翻译中的意象再现研究 姓名：李翀 申请学位级别：硕士 专业：英语语言文学 指导教师：胡开宝 20071201 VI 摘摘 要要 莎士比亚戏剧一直堪称世界文学经典， 其文学魅力吸引着无数爱 好者对其进行研究。莎士比亚戏剧最初是通过汉译本被介绍入中国 的。至今一百多年间，许多优秀的译者都尝试对莎士比亚戏剧重新演 绎，创作了多套不同风格的汉译本。 这为中国读者接触和解读莎士 比亚戏剧文本带来了可能性和必要性。在对剧作的解读过程中，有大 量意象的汉译非常值得研究。 意象承载着丰富的民族文化底蕴和审美 底蕴，意象翻译一直是文学翻译中一个难点。不同的汉译本对文本中
2、意象的翻译方法各异，其效果也具有差异。但纵观国内莎士比亚戏剧 翻译研究，鲜有对剧中意象翻译深入系统的探讨。 中国古典文论中的意象论是中国古典诗学与美学的重要理念， “言” ， “象” ， “意”这三个概念之间关系的演变与发展是中国古代语 言哲学的核心问题。在古典文论中，这三者的关系可归纳为： “言” 明“象” ， “象”表“意” ， “言”与“象”都为“意”服务， “意”统 领“言”与“象” 。本文指出，意象翻译的过程可以看作是在源语和 目的语之间通过“言”的转化，处理“言” 、 “象”和“意”之间的关 系，实现“象”与“意”的传递。翻译的结果是最直观的评价翻译的 标准，本文拟用中国古典意象论
3、，从意象翻译结果来探讨莎士比亚戏 剧中意象的汉译。本文作者将两个译本中的意象汉译结果分为四大 VII 类：对等，变形，失落以及扩增。本文从两个优秀译本（梁实秋译， 1995 中国广播电视出版社；朱生豪等译，1998 南京译林出版社）中 选取八部影响力较大的戏剧 （ 哈姆雷特 ， 李尔王 ， 奥赛罗 ， 麦克白 ，皆大欢喜 ，威尼斯商人 ，仲夏夜之梦 ，第十二夜 ） ， 并通过译本中意象翻译结果的比较， 分析如何在翻译中充分实现审美 意象的传递和再现。可以认为，运用中国古典文论的意象论来研究莎 士比亚剧中意象翻译， 为莎士比亚爱好者和翻译研究者提供了一个新 的研究视点，也弥补对莎士比亚戏剧文本中
4、意象汉译研究的不足。 关键词关键词 意象，翻译，中国古典文论，莎士比亚 VIII ABSTRACT Shakespeares (1564-1616) plays have been regarded as classics in world literature with an everlasting glamour, which attract innumerable literature lovers and researchers to explore with an intense passion. Shakespeares plays were first introduced in
5、to China as translated versions. Since then, a lot of translators have devoted to reinterpreting Shakespeares works, producing sets of Chinese versions with different styles. In the practice of translating Shakespeares works, how to translate large amounts of image in the plays arouses translators a
6、ttention. Images are loaded with so rich ethnic culture and aesthetic connotation that the image translation has been a long-existing challenge for translators. Translation approaches of image vary with translators and translated versions. Whether the images in the source language are transferred to
7、 the target language successfully is one of the important factors to translation effect. However, there are still few attempts to make a penetrating probe into the Chinese translation of image in Shakespeares plays. Imagery theory in Chinese classical literature is an essential theory in Chinese poe
8、tic and aesthetics. The relation between the three core categories -“yan”, “xiang” and “yi” remains controversial in Chinese IX ancient linguistic philosophy. In Chinese classical literature theory, their relation that “yan” describes “xiang”; “xiang” exhibits “yi”; “yan” and “xiang” serve to expres
9、s “yi”; “yi” dominates “yan” and “xiang”. This thesis points out that the process of image translation could be seen as the transfer of “yi” and “xiang” by the way of the transformation of “yan” between the source language and target language. So Translators should make decision with how to treat th
10、e relation between the three categories. This thesis will base on Imagery Theory in Chinese classical literature to discuss the image translation results in the translated versions of Shakespeares plays. The author classifies the translation results into four dominating types, namely, equivalence, d
11、eformation, loss and amplification. The translation of images from eight influential plays such as Hamlet, King Lear, Othello, Macbeth, As You Like It, The Merchant of Venice, A Midsummer Nights Dream and Twelfth Night, will be discussed to probe into how to transfer and represent aesthetic images i
12、n translation. This thesis attempts to explore a new translation approach based on Chinese Imagery Theory which may also fill in some blanks in translation of Shakespearean plays research. KEY WORDS imagery, translation, Chinese classical literature theory, Shakespeare XII List of Graphs Graph 1 Two
13、 Phases21 Graph 2 Imagery in Translation Process22 Graph 3 Origins of Images.25 Graph 4 Animal Images Enumeration27 Graph 5 Equivalence with Explanation whether Chinese dialects should be used to express Shakespeares slang; whether it is necessary to translate Shakespearean plays into verse; and, fu
14、rthermore, how to define “verse” in the Chinese language, etc. As early as 1950s, Cao Weifeng and Ge Baoquan summarized the achievements of the translation of Shakespearean plays in China. Meng Xianqiang also made a brief but clear sketch of the development of the translation of Shakespearean plays.
15、 Since Shakespeare was first introduced to China, generations of translators have never ceased to pursue a perfect translation version. In Shakespeares time, the spelling of English words has not been fixed. There were a large number of idioms and slangs, which contained striking features of localit
16、y, customs, documents and decrees, etc. at that time. Such idioms and slangs will hinder Chinese readers in their understanding the works and translators always pay more attention to them. Zhu Shenghao believes that “The Idea of Poetic Charm” should not be neglected in the translation of Shakespeare translation, with time going by, the translation versions with the guidance of it has proved to be the most popular version with the
