朱生豪莎剧隐喻翻译的认知归化倾向——以四大悲剧“愤怒”隐喻为例

Zhu Shenghao’s Translation of “ANGER” Metaphors in Shakespeare’s Four Great Tragedies: The Cognitive Domestication of Conceptual Metaphors

概念隐喻理论为莎剧隐喻的翻译研究提供了新视角。莎翁四大悲剧中的“愤怒”隐喻多为常规隐喻,新奇隐喻数量较少,其源域映射的依然是常规隐喻的概念特征。尽管英汉“愤怒”隐喻具有较多的认知共性,但朱生豪对概念隐喻的翻译呈现出“文化-认知”双重归化倾向。译文指向易于读者理解的汉语概念系统及汉文化语境,语义及审美意趣与原文偏离较多,但有利于莎剧的推广与普及。隐喻翻译研究不应局限于概念隐喻的文化异同,还应考虑原文隐喻在目标语中的规约化程度,从认知等视角探索隐喻翻译的制约因素及规律。

The theory of conceptual metaphors provides an inspirational approach to the study of translation of Shakespeare’s plays.“ANGER” metaphors in Shakespeare’s four great tragedies are mainly conventional,while a few novel metaphors are also mapping the same salient features of “anger” as those conventional ones. Despite the cross-cultural similarities of “ANGER” metaphors between English and Chinese,Zhu Shenghao’s translation style reveals a noticeable preference for domestication of “ANGER” both culturally and cognitively,i.e. adapting Shakespeare’s “ANGER” metaphors to fit in with Chinese conceptual system and cultural contexts. This preference apparently diminishes the semantic and aesthetic values of the original,whereas it effectively enhances interpretation and spreading of Shakespeare’s plays in China. Apart from the cultural similarities and differences,cognitive factors,such as the entrenchment ranking of metaphors in the target language,should also be incorporated in the process and the study of metaphor translation.