2012年英语翻译方向论文

1、唐山师范学院唐山师范学院 学士学位论文 题目：目的论视角下的戏剧翻译 -以英若诚茶馆英译本为例 作 者：齐爱营 指导教师：李丰 所在系部：外语系 专 业：英语 班 级：2010 级 完成时间：2012 年 5 月 唐唐 山山 师师 范范 学学 院院 on drama translation from skopos theory perspective -a case study of ying ruochengs translation of teahouse qi aiying a graduation thesis submitted to foreign language departm

2、ent of tangshan teachers university in partial fulfillment of the requirements for the degree of b.a. tutor: li feng specialty: english direction: translation tangshan, hebei province may, 2012 郑重声明郑重声明 本人的毕业论文（设计）是在指导教师 李丰 的指导下独立撰写完 成的。如有剽窃、抄袭、造假等违反学术道德、学术规范和侵权的行为， 本人愿意承担由此产生的各种后果，直至法律责任，并愿意通过网络接 受

3、公众的监督。特此郑重声明。 毕业论文（设计）作者（签名）：齐爱营 2012 年 5 月 23 日 acknowledgements first of all, i would like to extend my sincere gratitude to my tutor, mr. li feng, for his instructive advice and useful suggestions on my thesis. i am deeply grateful of his help in the completion of this thesis. he has spent much t

4、ime reading through each draft and provided me with inspiring advices. without his patient instruction, insightful supervision and expert guidance, the completion of this thesis would not have been possible. i also owe a special debt of gratitude to all the professors in foreign languages institute,

5、 from whose devoted teaching and enlightening lectures i have benefited a lot and academically prepared for the thesis. i finally like to express my gratitude to my beloved parents who have always been helping me out of difficulties and supporting me without a complaint. the last but not the least,

6、i owe much to my friends and roommates for their valuable suggestions and critiques which are of help and importance in making the thesis a reality. 摘摘 要要 剧作家在独自完成自己的创作后，其作品能长期地流传下去，但戏 剧演出却是一次性的瞬间艺术。因此，戏剧翻译以舞台表演为目的才能 达到舞台演出的最佳效果，并最大限度地满足观众的需求。 目的论是由德国语言学家汉斯.弗米尔提出而后在十九世纪七十年代 后期发展起来。本文引入目的论尝试探究以表演为目的的

7、戏剧翻译。目 的论指出翻译是一种人类的行为活动，而且是有目的的行为活动。这种 行为的结果则是译文。目的原则是整个翻译过程中最主要的原则。因此， 一个优秀的译文应当能最大限度地满足翻译目的。翻译者可以选择可行 的翻译策略来达到其翻译目的。 戏剧茶馆是我国现代著名小说家，戏剧家老舍杰出的代表作。 1979 年，著名表演艺术家英若诚把茶馆翻译成英文，为茶馆访问欧 洲作了准备。本文以英若诚英译本茶馆为例，详细分析英若诚以舞 台表演为目的的戏剧翻译。一部戏到底如何，得在舞台上看。 本文要突破的问题是运用意译和归化的翻译技巧和策略，分别从语 言和文化两个角度阐述英若诚以舞台表演为中心的戏剧翻译。作者希望

8、能够对翻译研究（包括戏剧翻译）有所裨益，并为读者提供新的视角。 关键词关键词：戏剧翻译；目的论；茶馆 abstract after the completion by the playwright, his works could be conveyed generation to generation for a long time. however, drama performance is a form of art which features shortness and instance. therefore, only drama translation which focuses

9、 on drama or stage performance can achieve the best effect and satisfy the audiences to the greatest extent. skopos theory was put forward by german linguist hans vermeer and then developed in the late 1970s. this thesis attempts to make a tentative study of drama translation from the perspective of

10、 skopos theory. skopos theory points out that translation is a human action with a specific purpose whose outcome is the translated works. according to skopos theory, skopos principle is the prime translation principle in the process of translation. as a consequence, an excellent translated work mus

11、t comply with the translation purpose as much as possible. the translator can choose any reasonable translation strategy which is considered suitable to achieve his purpose. drama teahouse is a distinguished masterpiece of famous modern writer and dramatist lao she. in 1979, a well-known performing

12、artist ying ruocheng translated it into english version, paving the way for its later visit to europe. this thesis takes ying ruochengs english version of teahouse as an example and makes a detailed analysis of drama translation from the perspective of the stage performance. a play has to be perform

13、ed on stage before the evaluation whether a play is a success or not. the main point in this thesis is to make an analysis of ying ruochengs performance-oriented drama translation from linguistic and cultural aspects by using liberal translation method and domestication strategy. the author hopes th

14、at this paper will make a little contribution to the translation study (drama translation included), and bring some new insights to the readers. key words: drama translation; skopos theory; teahouse contents introduction.1 chapter one drama and drama translation.3 1.1 an introduction of drama.3 1.2

15、a brief summary of drama teahouse.4 1.3ying ruocheng and his translation of teahouse.5 chapter two an overview of skopos theory.6 2.1 vermeers skopos theory.6 2.2 skopos theory in drama translation.7 2.3 ying ruochengs performance-orientation and skopos theory .8 chapter three analysis of ying ruoch

16、engs translation method and strategy of teahouse .10 3.1 liberal translation from the linguistic perspective.10 3.1.1 on word level.10 3.1.2 on sentence level.12 3.2 domesticating translation from the cultural perspective.13 3.2.1 reflection of religious culture.14 3.2.2 reflection of material cultu

17、re.14 3.2.3 reflection of social culture.15 conclusion.17 bibliography.18 1 introduction as a special genre, drama is a performing art as well as a literary art. the word “drama” comes from dran in greek, which means “action” and “thing done”. in oxford advanced learners english-chinese dictionary:“

18、drama” is a term of play for the theatre, radio and tv. it is also a term of plays as a branch of literature and as a performing art. (2002:437) in china, there are many classical and excellent drama works. a similar case is teahouse which is written by lao she who is one of the most renowned contem

19、porary chinese writers. teahouse was first translated by ying ruocheng in 1979 when beijing peoples art theatre was invited to deliver performance in europe. ying ruocheng is not only a well-known artist of performance but also an outstanding theatre director. moreover, he has a good command of engl

20、ish and foreign literature. skopos theory is an approach to translation developed in german in the late 1970s which is an essential theory in translation theories. it views translation as a specific form of human action. there is no doubt that drama translation is also a human action with a specific

21、 purpose. this thesis intends to analyze the performance-oriented drama translation from the point view of skopos theory. the author selects liberal translation method and domesticating translation strategy to verify ying ruochengs performance-oriented drama translation from linguistic and cultural

22、aspects. liberal translation conveys the true meaning and spirit of the original without trying to reproduce its sentence patterns or word form. domesticating translation is a transparent, fluent style which is adopted in order to minimize the strangeness of the foreign text for target language read

23、er. as a matter of fact, ying ruochengs drama translation is mainly about this two translation method and strategy. this thesis consists of three parts: in chapter one, first of all, it makes a brief introduction of drama and 2 concerns about its definition, classification and usage. then it introdu

24、ces lao she and his drama teahouse in detail. at last, it mentions the english version of teahouse, which is translated by ying ruocheng and then followed by his personal introduction. in chapter two, the author mainly focuses on the skopos theory and with much content about drama translation in sko

25、pos theory. in the end, the author emphasizes ying ruochengs performance-orientation from the perspective of skopos theory. in chapter three, it provides a detailed analysis of ying ruochengs performance-oriented drama translation from linguistic and cultural aspects. the author selected liberal tra

26、nslation and domesticating translation as translation strategy to certify a good translation is in comply with its translation purpose. finally, the author makes a conclusion and restates the influence of skopos theory on the translation of teahouse. when turning to drama translation, translators ap

27、ply suitable strategies to fulfill their primary skopos which will make the translation an excellent and successful one. 3 chapter one drama and drama translation as a special literary genre, drama makes translation become a difficult task. it is necessary for us to know about the definition and cla

28、ssification of drama. in this chapter, the author picks up lao shes excellent drama works as an example and makes a detailed introduction of ying ruocheng and his english version of teahouse. 1.1 an introduction of drama the word “drama” comes from dran in greek, which means “action” and “thing done

29、”. oscar g. brockett in his book the theatre: an introduction writes that drama is “one of the arts of the theatre-that concerned with creating a scenario, over -all plan or complete script (including all dialogues and directions for action and stage effects) as a basis for performance.”(brockett, 1

30、974:7) there are many forms of theatrical performances, the most common ones containing spoken drama (hua ju), opera, ballet, musical theater, puppet shows and so on. drama is a kind of comprehensive performing art by mean of literature, music, dance and art so as to create the artistic image of sta

31、ge, disclosing social contradiction and reflecting real life. drama is a special literary genre, which has its own language character and translation theory. thus, differing from “play” and “theatre”, drama is a term generally used to refer to a literary form involving parts written for actors to pe

32、rform. in our country, drama is generally including theater, spoken drama (hua ju) and opera. the term sometimes particularly refers to spoken drama. according to the type of works, drama can be divided into tragedy, comedy and serious play and so on; drama can be divided into historical play, moder

33、n costume and pantomime according to the subject matter. one of the main reasons for dramas survival in europe for hundreds of years is that drama has cultivated from generation to generation. chinese 4 spoken drama derives from western drama which has already formed its own features with a long-ter

34、m integration and revolution and become a treasure of chinese national art. among many of classical drama works in china, teahouse is just a powerful play. 1.2 a brief summary of drama teahouse lao she is a great master of language and a famous chinese modern writer, who enjoys a high prestige both

35、at home and abroad. meanwhile, he is a prolific writer who produced as many as 1000 books all his life. in more than 40 years of his creative career, he has made steady progress and achieved a higher level in terms of ideology and art. this great writer composed conscientiously and devotes himself t

36、o his creation persistently. lao shes wife hu jieqing ever mentioned: “what he wants to write remains to be more, just like the teahouse which is nothing but a part of his huge creation plan.” (hu jiuqing, 1981:326) as a consequence, he achieved fruitful efforts in different fields of literary creat

37、ion. he mainly wrote novels in his earlier life and deal with real lives of beijing citizens. “camel xiangzi” and “four generations under one roof” are fairly typical of his early works. each work has a prototype in life and breath life into character. the shift of lao shes literature standpoint pre

38、sents firstly in the choice of literary genres. after new china was founded, he began with drama creation. owing to the creation of the excellent stage play “longxu ditch”, he was ever given to “peoples artist” title. as the most remarkable work by lao she, the drama teahouse remains a reserved play

39、 prestigiously in contemporary drama stage in china. lao shes drama art has achieved a great breakthrough in this play. it is clearly that lao shes writing style is unique. what stands out the most is that teahouse is only a three-act play and each act has a certain period. that is, from “after the

40、reform movement of 1989 had been crushed” to “bei yang warlords set up their separatist regimes by force in early republic” and then ends in “the eve of regime collapse of kuomingtang (kmt)”. it is not so much a time change as historical change. lao she represents life scenes and 5 historical tenden

41、cy of these three times which point out that old china has been on the decline and people should seek for another way. as to the structure, many small dramatic conflicts are put together inside each act and so push forward the development of story plot. “the main characters from young to old, run th

42、rough the whole play”, “the minor characters, succession of father and son”, “the insignificant characters are on call at any time”. meanwhile, the fate and story of character are closely associated with era development at that time. in the drama he cleverly exploited life change of figures those wh

43、o have different social ranks or jobs to expose a great social change. 1.3ying ruocheng and his translation of teahouse ying ruocheng is not only a well-known performing artist, but also a distinguished theatre director. after graduating from foreign language department of tsinghua university, he en

44、rolled in the beijing peoples art theatre. he has portrayed a series of artistic images which win highly praise in several decades of his stage career. being an actor, he has starred in some classical plays, some of which are teahouse, longxu ditch, camel xiangzi and so on. in 1980, he translated la

45、o shes masterpiece teahouse into english which was also published in foreign country, paving the way for its later visit to europe. in 1983, he also translated death of salesman into chinese which was written by arthur miller, a renowned contemporary american writer, and played a major role in it. i

46、n the preface to his translated play teahouse, the son of lao she, shu yi mentioned that “ying ruochengs y axis is excellent national tradition. ying ruochengs x axis is abundant world civilization.” (shu yi, qtd in ying ruocheng 1999:3) obviously, he thinks highly of this knowledgeable writer. in o

47、rder to attain a high degree of stage effect and get a better understanding and acceptance of foreign audience, therefore, ying ruocheng applies colloquial, concise, and humorous language in his translated work. 6 chapter two an overview of skopos theory being a “german school” of functionalist tran

48、slation theory, skopos theory plays an important role in the process of translation. meanwhile, it also has an effective guidance to drama translation. in the following part, there is a brief introduction of skopos theory and its usage in drama translation. 2.1 vermeers skopos theory the word “skopo

49、s” originates from greek, to put it simply, it means “intention” or “purpose”. “in greek, skopos means aim, purpose, goal, objective, and intention. it is a technical term used by hans vermeer (1996) to refer to the purpose of a translation, which determines the strategy to be used during the transl

50、ation process.” (munday 2001:79) skopos theory was put forward by the german linguist hans vermeer and then developed in germany in the late 1970s. skopos theory focuses on translation as a human activity with an intention or purpose, and on the intended addressee or audience of the translation. to

51、translate means to produce a target text in a target setting for a target purpose and target addresses in target circumstances. vermeer ever mentioned skopos theory as follows: each text is produced for a given purpose and should serve this purpose. the skopos theory thus reads as follow: translate/

52、 interpret/ speak/ write in a way that enables your text/ translation to function in the situation, in which it is used and with the people who want to use and precisely in the way they want it to function. (vermeer, qtd. in nord christiane 1997:29) according to skopos theory, translation is an acti

53、on, and any action has its own purpose. the purpose of translation determines the translation method and strategy. literature creation is also an action, so the translation of literature works is an action with a specific purpose. 7 2.2 skopos theory in drama translation c.k.quah ever mentioned in h

54、is book translation and technology that skopos theory also allows a source-language text to be translated into a number of different target-language texts depending on the purpose specified in the so-called translation commission or belief. (c.k.quah, 2008:25) as mentioned above, according to skopos

55、 theory, translation is a human action with specific purpose. in addition to its purpose, any action has an outcome. the outcome of translational action is a translatum (vermeer, qtd. in mona baker 2004:235) moreover, the purpose of translatum plays an essential role among the whole translation proc

56、ess. that is to say, the purpose which the translatum intends to achieve is just the purpose of the whole translation. one of the most important factors that determine the purpose of translation is the audience-the receiver of translated work. as lin kehuan ever mentioned that “the prime purpose of

57、drama performance is making a visual exchange on the foundation of having a common feeling of life. drama skill namely is to make audiences reach a maximum reflection and adapt to them.” (lin kehuan, qtd du qingyuan 1986:268) it is well known that drama has duality. one exists in literary system whi

58、le another one exists in drama system. just dual natures bring about great confusion for translation. in a whole, drama translation must make sure it beneficial for reading in literature system and suitable for performing in drama system. as to the translation, peter newmark in his book about transl

59、ation says as follow： if i define the act of translating as transferring the meaning of a stretch or a unit of language, the whole or a part of a text, from one language to another, i am possibly putting the problem where it belong, viz., the meaning of meaning rather than the meaning of equivalence

60、, identity, similarity, likeness, sameness, correspondence and so on. (peter newmark, 2006:27) therefore, when we judge a drama translation, we cannot consider it a 8 good translation for its target readers, nor can we think it a success one for its target audiences. in fact, owing to the translator