【作者】 李雪；

【导师】 黄建凤；

【作者基本信息】 广西大学 ， 外国语言学及应用语言学， 2008， 硕士

【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。更多还原

【Abstract】 Chinese opera is the priceless legacy of Chinese culture. As an integrated performing art, it is a synthesis of poems, music, dance and stage designing. At the same time, it also ranks as one of the important genres of literature, which carries on the heavy tradition of Chinese literature. The arias of the Chinese opera combine music and poetry, whose librettos is governed by the prescribed tonal patterns, rhythm, rhyming scheme and a fixed number of words like other forms of poetry in China. The speaking parts of Chinese opera are usually written in prose and play an essential role in shaping the characters and pushing forward the plot. How to make the Chinese opera accessible and enjoyable to target readers have always been both a difficult question and a great challenge confronting the translators.In aesthetics, the aesthetic object is the one that falls under the aesthetic subject’s recognition and creation. In translation, it refers to the text to be translated. The literariness of the Chinese opera calls for the translator’s perception and exploration of the aesthetic constituents of the original at different levels, either formal or non-formal ones. The translator could capture the acoustic and visual effects caused by the versification, rhythm, diction or sentence patterns directly through his sensuous perception. Whereas the vivid images, profound artistic ideorealm with inexhaustible meaning created by the limited words, intense emotions and the tones couched in the speaking of the characters require the translator’s higher aesthetic capabilities.In aesthetics, the aesthetic subject is the person conducting the aesthetic activities on aesthetic object. As to the translation of Chinese opera, the aesthetic subject embraces both the translator and reader. On one hand, the translator brings his linguistic cognition, imagination and other psychological faculties to the full play to adjust his cognitive and aesthetic patterns so as to capture the aesthetic information and evoke the aesthetic experience as similar as that of the author. The diversities of perceptive angles and aesthetic judgments by different translators could also bring out the differences of feelings on the part of the readers. On the other hand, the translator is expected to take the target reader’s aesthetic culture and patterns into consideration to make his rendering more acceptable.Being a special aesthetic activity, the translation process embraces not only the appreciation of the original but also the transference of those aesthetic constituents into the target language. Guided by aesthetic basic principles and in conformity with the rules of translator’s aesthetic activity, this thesis sets out a tentative study on the transference of formal and non-formal aesthetic constituents in the translation of Chinese opera. And the author of this paper hopes that this study will be conductive to the research of translation of Chinese opera.更多还原