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现代文化背景下的戏剧重译呈现出明确的时代文化娱乐性,这种文化娱乐性通过语言文字的重构翻新,特别是适合的表达以及表达方式,再现了戏剧文本的世俗化审美追求。戏剧重译既顺应文学翻译的现代性要求,又迎合文学文本服务读者的功用性要求,熔文本可读性、耐读性和戏剧趣味性或通俗性于一炉,在剧本的可读性和可表演性上获得世俗化的统一,通过大雅大俗的语言行为抵达翻译彼岸。本文以英剧The Importance of Being Earnest为例,对比分析余光中的译本《不可儿戏》和张南峰的译本《认真为上》,总结两位翻译家从“大雅之文学语言”和“大俗之生活语言”的翻译中展现的语言魅力和翻译功力,由此见识译者对特色语言的转化和戏剧翻译的具体的世俗化处理,以及对戏剧文学性和舞台性各自的偏重和取舍。
The dramatic retranslation under the background of modern culture shows a clear cultural entertainment of the times. This kind of cultural entertainment reproduces the esthetic pursuits of the secularization of the dramatic text through the reconstruction and reformation of the language, especially the suitable expressions and expressions. In addition to meeting the requirements of modernity of literary translation, dramatic retranslation also caters to the readers' functional requirements of literary texts. The melodramatic readability, readability, and dramatic interest or popularity are all in one place. In the script readability and The performance of the secularization of access to unity, through elegant and vulgar language act to reach the other side of translation. This article takes the British drama The Importance of Being Earnest as an example to compare and analyze Yu Guangzhong's version of “Irrelevant Children” and Zhang Nanfeng's translation “Seriously Ascended”, and concludes that the two translators, from the literary language Vulgar life language "in the translation of the language charm and translation skills demonstrated by the translator to see the translator of the characteristics of language translation and translation of the specific secularization of the opera, as well as the dramatic literary and stage of the respective emphasis and choice .