中国戏曲翻译的美学视角研究

论文摘要

中国戏曲是中华民族宝贵的文化遗产,融诗歌音乐舞蹈美术为一体,是一门综合的表演艺术,同时也是一种重要的文学体裁。戏曲是由中国古代诗词歌赋发展而来,一脉相承。其中的唱词是一种兼具音乐与诗歌的艺术形式,和诗词一样,是讲究平仄、节奏、韵律和字数限制的诗体,而宾白一般为散体,抑扬顿挫铿锵有力,对于表达剧情和展现人物性格有重要作用。如何通过翻译让译语读者了解中国的戏曲艺术,获得美的享受,一直是译者的难题和挑战。在美学中,审美客体是审美主体认识和创造的对象。在翻译中,审美客体是译者所要翻译的原文。戏曲的文学性要求译者充分感知和发掘原文在不同层面上的审美构成,包括表象要素和非表象要素两大系统。其中唱词的音韵节奏及遣词造句带来的视觉听等直观感受给人以形式上的美感,可以由译者的直观感受获得;而唱词中鲜明的意象,“言有尽而意无穷”的审美意境,浓郁的感情色彩和宾白蕴含的语气,则需要译者较高层次的审美能力。在美学中,审美主体是对审美客体进行审美活动的人。对中国戏曲翻译而言,审美主体包括翻译者和读者。一方面,译者充分发挥语言认知能力和审美想象等心理机制,主动调节自己的认知和审美方式,积极建构与原文作者相似的审美经验,捕捉原文的审美信息,译者不同的观察视角和审美判断也能带给读者不同的感受。另一方面,译者也要考虑译语读者的审美文化和方式,提高译文的可接受程度。翻译作为一项特殊的审美活动,不仅包括译者对原文本的审美和鉴赏,还包括在译语中对原文审美构成的再现。本文试从美学的基本理论出发,遵循译者的审美活动规律,在分析中国戏曲作为审美客体其美学构成要素的基础上,对戏曲翻译在形式系统和非形式系统不同层面上实现美的传递的问题进行了初步探索,希望对戏曲翻译的研究有所裨益。

论文目录

• 摘要
• Abstract
• Chapter 1 Introduction
• 1.1 Background
• 1.2 Aims and Significance of the Study
• 1.3 The Outline of the Present Study
• Chapter 2 A Brief Review of Aesthetics and Translation Aesthetics
• 2.1 A Brief Review of Development of Aesthetics in the West
• 2.1.1 Early Speculations by Classical Philosophers
• 2.1.2 Its Emergence as a Discipline
• 2.1.3 Further Development
• 2.2 A Brief Review of Development of Aesthetics in China
• 2.3 Traditional Translation Theories Related to the Aesthetics
• 2.3.1 Western Traditional Translation Theories Related to Aesthetics
• 2.3.2 Chinese Traditional Translation Theories Related to Aesthetics
• 2.4 Current Studies of Translation Aesthetics in China
• 2.5 Summary
• Chapter 3 Aesthetic Object in Translation and Aesthetic Constituents of Chinese Opera
• 3.1 Aesthetic Object in Translation
• 3.2 Profile of Chinese Opera and its Translation
• 3.2.1 Definition of Chinese Opera
• 3.2.2 A Brief Introduction of Chinese Opera and Its Translation
• 3.3 Aesthetic Criteria for Translation of Chinese Opera
• 3.3.1 Elements and Characteristics of Chinese Opera
• 3.3.2 Aesthetic Criteria for Translation of Chinese Opera
• 3.4 Analysis of Aesthetic Constituents of Chinese Opera
• 3.4.1 Formal Aesthetic Constituents of Chinese Opera
• 3.4.2 Non-Formal Aesthetic Constituents of Chinese Opera
• 3.5 Summary
• Chapter 4 Aesthetic Subject in Translation
• 4.1 The Translator
• 4.1.1 Basic Attributes of Aesthetic Subject in Translation
• 4.1.2 The Translator's Psychological Isomorphism to the Author
• 4.1.3 Aesthetic Faculties of Translator
• 4.1.4 Aesthetic Judgment and Different Aesthetic Perspectives
• 4.2 The reader
• 4.2.1 The Ordinary Reader
• 4.2.2 The Spectator
• 4.3 Summary
• Chapter 5 Transference of the Aesthetic Constituents of Chinese Opera into the Target Text:A Case Analysis of Translation of The Peony Pavilion
• 5.1 Brief Introduction of The Peony Pavilion and its Translation
• 5.1.1 The Author and the Script
• 5.1.2 Translation of the The Peony Pavilion in Modern and Contemporary Times
• 5.2 Transference of Formal Aesthetic Constituents of The Peony Pavilion
• 5.2.1 Transference of the Musicality
• 5.2.2 Transference of Formal Aesthetic Constituents at Word Level
• 5.2.3 Transference of Formal Aesthetic Constituents at Syntactical and Textual Level
• 5.3 Transference of Non-Formal Aesthetic Constituents of The Peony Pavilion
• 5.3.1 Transference of Image
• 5.3.2 Transference of Ideorealm
• 5.3.3 Transference of Emotion
• 5.3.4 Transference of Tone
• 5.4 Summary
• Chapter 6 Conclusion
• Bibliography
• Acknowledgements
• Papers Published During the Study for M.A.Degree