摘要
戏剧既是一种文学艺术,也是一种表演艺术。相比其他文学形式,有着其独特的二元性。正如苏姗·巴斯内特所言“这些年来我的观点更改了好几次,但我仍然认为迷宫这形象还是适合于这一翻译研究领域中最具困难,最受忽视的领域。有关于戏剧文本翻译的研究文章要远远少于论述其他文本类型。”尽管国内市场很难找到戏剧翻译研究的专著,可喜的是不少戏剧翻译的工作者从个人的翻译实践中也总结出一些颇具指导性的戏剧翻译策略和原则,这其中,朱生豪,余光中和英若诚三位颇具影响。国外的苏珊·巴斯内特等也在这一领域发表了许多颇具代表性的观点。
关联理论首先是由斯柏伯和威尔逊于1986年在合著《关联性:交际与认知》中提出的,是从认知角度研究口头交际的语用理论。该理论在产生后,对语言学,文学,心理学等的研究产生了不少影响,并对翻译也有很强的解释力。格特成功地将该理论应用到翻译领域,并在其著作《翻译和关联:认知和语境》中进行了阐述。该理论认为最佳关联性是人们在交际过程中无意识地遵守的原则,本文试图将关联理论应用到戏剧翻译,并以最佳关联性作为分析《芭巴拉少校》两个中译本中所采用的翻译原则和策略的标准。通过大量举例分析,作者认为英若诚的译本更适合舞台表演,原因就在于他在翻译过程中注意到了戏剧舞台表演的特殊性,进行了有目的地适应性翻译。
本文中,作者试图将关联理论应用到戏剧翻译,并把最佳关联性当做分析两个中译本中翻译策略和原则的标准。两个中译本分别是林浩庄翻译的《巴巴娜少校》和英若诚翻译的《芭巴拉少校》。通过举例对比分析,作者证实了英若诚译本的成功在于他考虑到了舞台演出的特点及要求,并进行了有目的地适应性翻译。
尽管有关该理论的争议仍很大,但我们却不能忽视其对我们理解翻译提供的独特视角。本文在关联理论的指导下,结合英若诚提出的戏剧翻译应遵循的原则,通过对《芭巴拉少校》两个中译本中选取的实例的分析,证明了最佳关联性对戏剧翻译的理论指导的实用性。
Due to its dualistic nature(as drama can be both treated as part of the literary system and part of the theatrical system),drama has remained, as Susan Bassnett has put it:"Over the years I have revised my views several times,though I still find the image of the labyrinth is an apt one for this most problematic and neglected area of translation studies research.Less has been written on the problems of translating theatre texts than translating any other text type."(Susan Bassnett,2001:90) Even though very few monographs can be found regarding drama translation,many translators,such as Zhu Shenghao,Yu Guangzhong and Ying Ruocheng,have summarized their drama translation strategies and principles from their first-hand experience.And Western scholars,for instance,Susan Bassnett and Sirkku Aaltonen have made their contributions to a more comprehensive and in-depth understanding of drama translation,especially after taking the characteristics of stage-oriented drama into consideration.
Relevance theory,first put forward by Dan Sperber and Deirdre Wilson in their co-authored book,Relevance:Communication and Cognition in 1986,is basically a pragmatic theory related to verbal communication.However,soon after it was proposed,it has exerted great influence on a variety of fields,such as linguistics,literature,psychology, and translation.Emst-August Gutt successfully introduced it into translation and elaborated it in his work Translation and Relevance: Cognition and Context.In this thesis,the author ventures to apply the theory of relevance into drama translation and set optimal relevance as a criterion in analyzing the translation strategies and principles adopted in the two Chinese versions,《巴巴娜少校》translated by Lin Haozhuang and《芭巴拉少校》translated by Ying Ruocheng.With the exemplification and analysis,the author intends to convince the reader of the success of Ying Ruocheng's translation,who has purposefully adapted his translation according to the requirement of on-stage performance.
Though disputes regarding this theory remain fierce,we can hardly ignore the insights of relevance theory given to our understanding of translation.In this thesis,the author makes a tentative study on a comparative analysis of the two Chinese versions of Major Barbara from a relevance-theoretic perspective to help us better understand the appropriate translation strategies and principles we should adopt for performance-oriented drama translation.Besides,under the guidance of Relevance Theory and the drama translation strategies proposed by Ying Ruocheng,it has demonstrated the theoretical applicability of optimal relevance to drama translation by a comparative analysis of the examples chosen from the two Chinese versions of Major Barbara.
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