【作者】 朱姝；

【导师】 张春柏；

【作者基本信息】 华东师范大学 ， 英语语言文学， 2014， 博士

【摘要】 本文以“情境”为逻辑起点对戏剧翻译元问题进行了深入研究。全部论证和研究可以概括为一个命题：戏剧翻译是情境翻译和翻译情境,其内在关联是剧本之情与译者之情的契合。戏剧翻译研究一直未能成功构建系统性的翻译理论体系,主要原因在于,已有戏剧翻译研究过多关注戏剧翻译本体外围的研究。只有回归戏剧翻译本体,才有构建戏剧翻译理论体系的可能。同时,本体视域下、严格意义上的戏剧翻译,是戏剧研究、翻译研究和戏剧翻译研究进一步发展的基石。本研究采用的主要方法为假设求证法,在分析论证过程中,使用了文献法、多学科研究法、互证法、定性分析和定量分析相结合方法。首先,本文找出了已有戏剧翻译理论和研究中的根本分歧：戏剧翻译的界定是狭义还是广义、戏剧文本特性是文学性还是剧场性、戏剧译者作用是主导者还是从属者。同时,提出解歧方案：应在狭义上界定戏剧翻译、戏剧文本特有的戏剧性既包括文学性又包括剧场性、戏剧译者在戏剧翻译中具有主导作用。其次,本文从已有研究中挖掘出戏剧翻译本体研究路向：以剧本形式和译者心理为研究对象,以戏剧翻译的“本质”和“本源”为研究切入点；并提出理论假设：戏剧翻译的元问题是情境翻译和翻译情境,情境翻译是戏剧翻译的本质,翻译情境是戏剧翻译的本源。在本论文的主体部分,我们从戏剧情境本体论和译者心理学两个维度,结合现象学美学、语言哲学和文艺心理学等领域的成果和方法,对戏剧翻译元问题中的本质和本源进行了较为全面的论证。在论证过程中,阐述了情境翻译和翻译情境的具体内涵、作用和意义,并结合具体文本对情境翻译和翻译情境进行了分析。在文献综述的基础上,本文提出：情境翻译指把源文本的戏剧情境在译本中再现出来,戏剧情境是戏剧翻译同一的标准；翻译情境指译者的内心情境,是戏剧翻译发生的情感动力,翻译情境蕴含于译本中,是译文具有差异性的根本原因。在对“情境翻译是戏剧翻译本质”进行论证时,侧重译本的生成过程,由翻译过程顺向推导出论题的合理性；在对“翻译情境是戏剧翻译本源”进行论证时,侧重译本的心理蕴含,由译本和源文本、译本和译本之间的比较分析,逆向推导出论题的合理性。一方面,本文对情境翻译展开全面分析论证,扼要阐述了谭霈生提出的戏剧情境本体论,在引入戏剧翻译时,对其内涵进行了补充,认为心灵意向性借助语言指向戏剧情境。本文指出,情境是衡量译本和源文本具有同一性的标准,以情境为戏剧翻译单位可以保证译本和源文本具有同一性。本文以英加登作品层次说、戏剧意象思维和诗化语言观为理论依据,把戏剧情境分为三个层次：语言层、意象层和意蕴层,把握住这三个层次可以更有效地理解所译剧本的形式和意义。戏剧翻译诗学关注戏剧形式的翻译。在戏剧翻译表达阶段,本文提出了情境言表述、象表述和情显现的同一,这些同一具体化为诗性标记的同一。另一方面,本文对翻译情境进行索隐式分析论证。本文提出的翻译情境指译者的心理情境。依据“人是翻译的根基”观点,确立翻译情境为戏剧翻译本源,解答戏剧翻译从何而来(from)和依何而来(by)这个“本源”问题。本文从心理学角度,把译者必然进入的翻译情境分为意识、前意识和无意识三个层次,指出翻译情境对戏剧翻译具有本体意义。本文认为,在翻译过程中,正是翻译情境超越译者的愿望和行动与译者一起发生。然后详细论述了翻译情境中译者无意识的本源性表现：译者翻译移情、情境翻译和翻译情境的同构与张力、译本的心理蕴含。从言表述、象表述和情显现三个方面分析了翻译情境对戏剧翻译的隐性影响。在翻译情境对戏剧翻译的显性影响中,回答了戏剧翻译为何要20年一重译的谜题。因译本语言老化,翻译情境的异质性压倒了源文本和译本中戏剧情境的同一性,源文本需要新的语言质料来重构译本中的戏剧情境。最后提出戏剧译者的任务：确立戏剧翻译观、自觉研习戏剧理论与剧作、翻译移情与译笔中立的平衡、译者爱与责任的合一。对情境翻译和翻译情境进行分析论证后,本文确定理论假设成立,即：戏剧翻译元问题由情境翻译和翻译情境构成,其中情境翻译是戏剧翻译的本质,翻译情境是戏剧翻译的本源,其内在关联在于剧本之情和译者之情的契合。这一研究结果可被反复验证。本文还界定了可以谈论戏剧翻译的术语,如：戏剧翻译、元问题、情境翻译、翻译情境、同一性、差异性、意象、情境虚实、情境节奏等。以情境为尺度,不仅可以回答“戏剧翻译是什么”和“戏剧翻译如何是”这两个最根本的问题,还可以解决其它一直缠绕不清的问题,如：戏剧翻译对象的确定、戏剧翻译质量评价标准、戏剧译者的作用等。戏剧翻译元问题的解决不仅是戏剧翻译理论构建的逻辑起点,而且在实践上会促使更多严格意义上翻译作品的诞生。戏剧翻译元问题是戏剧翻译研究的首要问题,内含着整个戏剧翻译现象的内在矛盾和秘密。因戏剧翻译元问题的解决,本学科中其他一系列理论问题也就有所归依。所以对戏剧翻译元问题的研究不仅具有本体论意义,还具有认识论和方法论的意义。更多还原

【Abstract】 This dissertation is a study of the meta-problem of drama translation from the perspective of "situation". All my arguments can be condensed into one proposition: drama translation consists of situation translation and translational situation, which are intrinsically linked by the emotion embedded in the source text and that of the translator.The lack of systematic theories of drama translation to date can be attributed to the fact that most studies so far have shied away from the ontology of drama transla-tion. This dissertation suggests that the construction of systematic theories of drama translation is possible only after we have entered into the ontology of drama transla-tion. It further suggests that from the perspective of ontology, drama translation proper, i.e. drama translation in a strict sense, is the very cornerstone on which drama studies, translation studies, and drama translation studies can be possibly developed.The main method of research employed in this dissertation is the formulation and confirmation of hypotheses through reasoning supplemented by a review of literature, multidisplinarity, qualitative and quantitative analyses, and cross-validation. Firstly, three major controversial issues in the theoretical studies of drama translation are dis-cussed, i.e. whether drama translation should be defined in a broad sense or narrow sense; whether the play text is best characterized by its literariness or theatricality; and whether the translator’s role is a dominant one or a subordinate one in the process of drama translation. Solutions are then offered, that is, drama translation should be defined in its narrow sense; the play text is characterized by its dramaticality with both literariness and theatricality; and the translator plays a dominant role on his own home ground—drama translation. Secondly, the ontological approach to drama trans-lation is proposed on the basis of a thorough study of the existing literature. Accord-ing to this proposal, the research objects should be the play form and the translator’s psychology, and the study of drama translation should take its very "nature" and "ori- gin" as its point of departure. A hypothesis is then formulated that the meta-problem of drama translation consists of situation translation and translational situation, and that situation translation constitutes the nature of drama translation, while translation-al situation is its origin.In the main part of the dissertation, the nature and the origin of drama translation are expounded and verified from the two dimensions of dramatic situation ontology and the translator’s psychology, with the aid of other theories and methods from phe-nomenological aesthetics, language philosophy, art and literary psychology. In the process of discussion, situation translation and translational situation are elaborated theoretically with regard to their connotations, functions and significance on the basis of textual analysis. It is pointed out that situation translation involves the transfer of the dramatic situation of the source text into the target text, that the preservation of dramatic situation is the criterion of evaluating the identity between the source text and the target text, and that translational situation refers to the translator’s psycholog-ical state at the time of translation, which is the emotional drive behind the act of drama translation, and which also contributes to the different traits of the target text from those of the source text. In the discussion on our idea that "situation translation is the nature of drama translation", the focus is on the process of translating, in which our arguments are developed step by step in support of the proposition. When dis-cussing the idea that "translational situation is the origin of drama translation", we proceed from a comparative analysis of the source text and the target text and prove the validity of the statement with concrete examples.A comprehensive analysis is made of situation translation. After a brief introduc-tion to the main points of dramatic situation ontology advanced by Tan Peisheng, this dissertation suggests that in drama translation, this theory should include another point, that is, the dramatic situation is revealed by the translator’s psychological inten-tion via language. It is pointed out that the dramatic situation is the criterion for judg- ing the identity between the target text and the source text. Based on Roman Ingar-den’s theory about the stratification of literary works, image-thinking of drama and poetic literary language, we suggest that the dramatic situation is composed of three strata:the stratum of language, that of image, and that of essence, which are key to effective understanding of the structure and significance of the play under translation. As the translation of the dramatic form is a major concern of the poetics of drama translation, this dissertation proposes the notion of the identity of the verbal expres-sion, image recreation, and emotional expression of the situation, which are presented as the poetic identity between the two texts.Then a thorough analysis is made of the translational situation. We claim that the translational situation is the psychological state of the translator. On the basis of the viewpoint that "the human being is the root of translation", it is confirmed that trans-lational situation is the origin of drama translation, and thus the question of where drama translation comes from and how it comes into being is answered. We contend that the psychological state of the translator is constructed with his consciousness, pre-consciousness, and unconsciousness, the last of which agrees with the translation ontology, since it constitutes the translation situation which, as is further argued, is what guides the translator in the process of translating irrespective of his wish. This argument is then followed by a discussion on the manifestations of the origin of translational situation in three aspects, i.e. the empathy of the translator, the isomorph and tension between situation translation and translational situation, and the psycho-logical implications in the target text. The hidden impact of translational situation upon drama translation is analyzed from the perspectives of verbal expression, image recreation, and emotional expression of the situation. In the following analysis of the visible impact of translation situation on drama translation, we offer an answer to the puzzling question of why translated plays need to be retranslated every two decades that the identicalness between the source text and the old target text tends to be over- whelmed by the increasing incongruousness between them due to the development of the target language and the necessity of reconstructing the dramatic situation with new linguistic resources for the new generation of target audience. Finally, it is suggested that the task of the drama translator is to set a correct viewpoint of drama translation, have a good grasp of dramatic theories, and keep a balance between objective transla-tion and translational empathy. In short, it is the embodiment of the translator’s love for the play and duty to represent it faithfully to the target audience.The dissertation affirms the validity of the hypothesis that the meta-problem of drama translation consists of situation translation and translational situation. Of the two, the former is the nature of drama translation, while the latter is its origin, which are intrinsically linked by the emotion embedded in the source text and that of the translator. The correctness of the proposition could be verified repeatedly. Secondly, we have defined a number of terms about drama translation including drama transla-tion, situation translation, translational situation, meta-problem, identity, difference, image, latent and outstanding situations, and situation rhythm. It is emphasized that "situation" is a key word in answering fundamental questions such as "what is drama translation" and "how does drama translation come to be what it is", but it is also in-dispensable in solving other knotty problems such as the object of drama translation, the assessment of translated plays, and the role of the translator.The solution offered by this dissertation to the meta-problem of drama translation is a new starting point for the construction of systematic theories of drama translation, which means more translations of plays in the strict sense can be expected in the near future. Being the first and most important problem of drama translation, the meta-problem contains all the paradoxes and mysteries inherent in drama translation. Its solution means that all other theoretical problems could be solved subsequently. Therefore, it is safe to say that the study of the meta-problem of drama translation is of significance not only in ontology, but also in epistemology and methodology of drama translation.更多还原