戏剧翻译中的文化顺应论文
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最后更新时间:2024-02-23
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最后更新时间:2024-02-23
【摘 要】戏剧是为舞台演出而作。为了目的语观众，戏剧翻译顺应目的语文化。本文结合语言学家Verschueren的顺应论，以《推销员之死》的两个中文译本为例，对戏剧翻译中的文化顺应进行探讨。
【关键词】戏剧翻译；顺应；文化
【Abstract】Drama is written for stage. Drama translation is meant for target audience and must be adapted to the target culture. This paper discusses cultural adaptation in drama translation from the perspective of Verschueren’s adaptation theory， and uses two Chinese versions of Death of A Salean as sources of examples.
【Key words】drama translation； adaptation； culture
Introduction
Drama is a form of literature to be read and judged like fiction and poetry， but it is also meant to be performed on stage. Since the nature of drama is for the stage， “greater demands are placed on the translation with regard to its ‘performability’” （Baker 2004：71） Considering the fact that the most difficult obstacle in translation doesn’t come from linguistic but from cultural differences， the translator must treat the cultural phenomenon in the source language carefully and make the target text adapt to the target culture.
Adaptation theory and Drama Translation
Adaptation theory is put forward by Jef Verschueren. In his book Understanding Pragmatics， Verschueren puts that “using language must consist of the continuous making of linguistic choices， consciously or unconsciously， for language-internal （i.e. structural） and/or language-external reasons.” （2000：55-56） Adaptation theory focuses on relationship of language use and language users， aiming at explaining the language user’s purpose in communication and how to achieve the purpose through language.
Drama translation is a special form of language use， and it involves kind of choice-making and language adaptability. It is a process of selection and adaptation. Considering the performability in the TL context， the translator must negotiate with the target audience and try as much as possible to adapt the translated version to the target culture. Nida once says that “ a translation should conform to or accurately represent the content of the source text and in so far as possible should also reflect the form ， but if something has to be lost， it should normally be the form and not the content”（ 2001：277） This is true especially in the case of drama translation.
Cultural Adaptation and Drama Translation
Translating is not a matter of language alone and doesn’t merely take place between languages. “Language is not seen as an isolated phenomenon suspended in a vacuum but as an integral part of culture” （Snell-Hornby 2001：39） Language is a part of culture and the meaning of any text refers directly or indirectly to the corresponding culture. Therefore， what is excellent for one language-culture does not fit easily into the patterns of other cultures. In general， “the differences in culture give rise to more important adjustments than the differences in language.”（Nida 2001：95） Chinese and English belongs to two distinct language families， both of which he quite distinct cultures. So the translator should not just seek literal correspondence.
【关键词】戏剧翻译；顺应；文化
【Abstract】Drama is written for stage. Drama translation is meant for target audience and must be adapted to the target culture. This paper discusses cultural adaptation in drama translation from the perspective of Verschueren’s adaptation theory， and uses two Chinese versions of Death of A Salean as sources of examples.
【Key words】drama translation； adaptation； culture
Introduction
Drama is a form of literature to be read and judged like fiction and poetry， but it is also meant to be performed on stage. Since the nature of drama is for the stage， “greater demands are placed on the translation with regard to its ‘performability’” （Baker 2004：71） Considering the fact that the most difficult obstacle in translation doesn’t come from linguistic but from cultural differences， the translator must treat the cultural phenomenon in the source language carefully and make the target text adapt to the target culture.
Adaptation theory and Drama Translation
Adaptation theory is put forward by Jef Verschueren. In his book Understanding Pragmatics， Verschueren puts that “using language must consist of the continuous making of linguistic choices， consciously or unconsciously， for language-internal （i.e. structural） and/or language-external reasons.” （2000：55-56） Adaptation theory focuses on relationship of language use and language users， aiming at explaining the language user’s purpose in communication and how to achieve the purpose through language.
Drama translation is a special form of language use， and it involves kind of choice-making and language adaptability. It is a process of selection and adaptation. Considering the performability in the TL context， the translator must negotiate with the target audience and try as much as possible to adapt the translated version to the target culture. Nida once says that “ a translation should conform to or accurately represent the content of the source text and in so far as possible should also reflect the form ， but if something has to be lost， it should normally be the form and not the content”（ 2001：277） This is true especially in the case of drama translation.
Cultural Adaptation and Drama Translation
Translating is not a matter of language alone and doesn’t merely take place between languages. “Language is not seen as an isolated phenomenon suspended in a vacuum but as an integral part of culture” （Snell-Hornby 2001：39） Language is a part of culture and the meaning of any text refers directly or indirectly to the corresponding culture. Therefore， what is excellent for one language-culture does not fit easily into the patterns of other cultures. In general， “the differences in culture give rise to more important adjustments than the differences in language.”（Nida 2001：95） Chinese and English belongs to two distinct language families， both of which he quite distinct cultures. So the translator should not just seek literal correspondence.