昆剧翻译的多模态视角探索

【作者】 朱玲；

【导师】 严世清；

【作者基本信息】 苏州大学 ， 英语语言文学， 2015， 博士

【摘要】 中国昆曲于2001年入选联合国首批“人类口述与非物质遗产”代表作名录,是中国传统戏曲艺术成就的集中体现。昆剧是一门综合性的艺术,由文学、音乐、舞蹈、表演、妆容、服饰、砌末等要素构成,具有多模态、多符号系统的特性。许多昆曲剧作也属中国文化典籍的范畴。在我国政府大力推进“中国文化走出去”战略的今天,昆剧的翻译工作意义重大、影响深远。然而,昆剧的翻译和翻译研究现状却差强人意。截至当前流传下来且尚能演出的昆剧共计102个剧目,已有译本的仅有20多个,并且其中绝大多数是选译本或编译本,只有极个别的剧目有全译本。针对昆剧翻译的研究在国外尚未发现,在国内研究极少,基本都只考察它的文本信息传译情况,与其他文学样式的翻译研究未作区别,忽略了昆剧多模态的戏剧艺术属性。至今也尚未出现用于指导昆剧翻译的译法框架。多模态话语分析于二十世纪九十年代在西方兴起,我国对这一理论的引进仅有十年,目前对它的研究仍主要停留在评介、阐释、综述阶段,或对理论的简单套用,鲜有批判性的研究,更尚未触及戏剧和戏剧翻译领域。应用该理论解决中国语言学研究中遇到的实际问题,让西方多模态话语分析研究领域听到中国语言学界的声音,已成为一种迫切的需要。昆剧具有多模态性,而翻译要回归语言、回归文本。本文采用多模态昆剧翻译研究视角,不仅考察译作对原作文本信息的传达,还通过挖掘语言文字所附带的多模态信息,考察译者将多模态信息通过目的语的语言文字在译文中的传达。实证研究部分选取了译本数量最多、种类最全的昆剧代表作《牡丹亭》和白之、张光前、汪榕培、李林德、汪班的五个英译本。根据昆剧在语言文学、音乐声腔和舞台表演上所体现出的多模态性,参照多模态话语分析领域专家Gunther Kress、Theo Van Leeuwen共同构建的视觉语法和Theo Van Leeuwen构建的听觉语法框架,从视觉模态和听觉模态的视角对原作进行话语分析并对五个英译本进行比较研究。所用到的研究方法包括多模态话语分析研究方法、文献研究法与取样研究法、比较研究法与评价研究法和跨学科研究法。我们发现,五位译者对原作中多模态信息都有所关注,并在各自的译文中也有不同程度的传达。然而,五位译者对原作中视觉模态的再现意义、互动意义和构图意义这三大功能在译文中的传达情况并不均衡,予以传达的信息主要包括再现意义中的行为过程,互动意义中的情态和构图意义中的信息值、突显方式和取景。涉及的视觉符号标记有动作、景物、颜色、形状、布局、视觉典故等。在听觉模态方面,五个英译本对原作听觉模态信息的传达也有所选择,主要体现在声音时间、曲调发音和音质音色三个方面。涉及的听觉符号主要包括音韵、节奏、叠字、语气词、修辞手法和听觉意象等。在理论构建部分,本文倡导突破案头剧和场上剧二元对立的传统译法分野,回归昆剧的艺术本真——多模态性。根据昆剧翻译的特点,提出了剧作在翻译过程中可能出现的意义衰减。我们把模态转换中的意义损失叫做一度失真,把语言传译中的意义损失叫做二度失真,并针对性提出了多模态标记的识别和再语境化的译法策略。从昆剧原作的语言文字中可以识别出的多模态标记主要体现在视觉和听觉两方面。视觉符号标记主要有再现意义中的动作,互动意义中的颜色,构图意义中的信息值、意象和突显。听觉符号标记主要有声音时间中的格律,曲调发音中的断续连续和音质音色中的文字发音。通过目的语将这些识别出来的多模态标记在译文中进行再语境化主要包括四个步骤,分别是选择、排序与取舍、前景化和考量受众因素。多模态标记的识别和再语境化两个昆剧译法策略,共同构成了多模态视角下的昆剧译法框架。更多还原

【Abstract】 Kunqu opera of China was listed among the first group of Masterpieces of Oral and Intangible Heritage of Humanity by UNESCO in 2001. It stands for the artistic zenith that Chinese traditional operas have ever reached. Kunqu opera is a comprehensive art with literature, music, dance, performance, make-up, costume and prop as its components, thus characterized by multimodality. Most Kunqu operas are considered as Chinese masterpieces, the translation of which will help enhance the soft power of China.However, the translation of Kunqu opera and the study on it are barely satisfactory at present. Among 102 Kunqu operas only about 20 have been translated to foreign languages, most of which are episodes or compiled versions. Only a few are complete translations. Few studies on the translation of Kunqu opera have been found overseas. In China, although some researchers are related to it, their analyses, with no differentiation with other literary works, only focus on the script rather than the multimodal features of Kunqu opera.Multimodal discourse analysis sprang up in the western world in 1990 s. It has been introduced to China since about ten years, but domestic studies on it chiefly focus on evaluating, explaining, reviewing and testing its explanatory power without critical research. None of them applies it to the study of theatre or theatrical translation. It has been a crying need for the application of this western theory to the solving of Chinese linguistic problems.Kunqu Opera is characterized by multimodality, while translation returns to language and text. From the perspective of multimodal discourse analysis, both the textual meaning and multimodal information of the original text should be conveyed in the target text. We conduct a comparative study on English translations of The Peony Pavilion from this perspective. We choose five English translations of them: Cyril Birch’s, Zhang Guangqian’s, Wang Rongpei’s, Li Linde’s and Wang Ban’s versions. According to the nature of multimodality in language, music and performance of Kunqu opera and referring to the grammar of visual design created by Gunther Kress and Theo Van Leeuwen as well as the grammar of the principles designed by Theo Van Leeuwen in his book Speech, Music, Sound, we compare the five English versions of The Peony Pavilion mainly from the perspective of visual modality and auditive modality. The research approaches we take here are multimodal discourse analysis, documentary analysis, sampling, comparative study, evaluation and interdisciplinary research. By case study we find that five translators all pay some attention to the multimodal information in the original text, including visual signs such as scenery, color, visual classical allusion, rhetorical devices, gesture and action and auditive signs such as rhyme, rhythm, reduplication, modal particle, rhetorical devices and key image, and convey them in their respective translations.We propose to abandon the binary opposition of drama translation——translation of closet drama and that of staged drama,and go back to the essential nature of Kunqu opera——multimodality. Considering the characteristics of Kunqu opera and its translation, we come up with the term “double distortions”. The first distortion refers to the meaning loss in the transferring of modalities, and the second distortion refers to the meaning loss in the changing of languages. In order to avoid such losses in the translation of Kunqu opera, we create a multimodal translation framework of Kunqu opera with the main principles of recognizing multimodal signs in the original text and recontextualizing such signs in the target text. In this framework, visual signs include gesture and action, color, information value, image and foregrounding; auditive signs include meter, melody and pronunciation. Recontextualization is divided into four steps: selection, sorting and choosing, foregrounding and considering for the audience.更多还原