摘要
《赵氏孤儿》是中国首部外译的戏剧作品,译者分别使用删译、转译、改编和严格翻译的策略。在戏剧翻译史中,前3种翻译策略产生的衍生文本,不管其与源文本的对应程度如何,均被认定为翻译作品。而从翻译本体视野看,若把衍生文本当成翻译作品,就会使翻译研究陷入虚无。从《赵氏孤儿》译者对戏剧本体的认识及翻译动机来看,严格意义上的戏剧翻译应该是源文本取向的翻译,并在译文中完整呈现源文本的戏剧本体。
The Orphan of Zhaos is the first Chinese play travelling abroad. Omission, retranslation, adaptation and translation proper were employed respectively. The paratexts produced by the tbrmer three translation strategies, in drama translation history, are considered as translation works no matter how paratexts match the source text. Against essence of drama and translation, paratexts are used culturally. Drama translation proper is to be defined as a source-oriented translation with drama essence translated.
出处
《外语学刊》
CSSCI
北大核心
2013年第5期104-108,共5页
Foreign Language Research
基金
教育部人文社科研究项目"易卜生私密文献翻译与研究"(11YJC752020)的阶段性成果
