摘要
以莎剧Hamlet的植物隐喻及朱生豪、梁实秋、王宏印和黄国彬汉译本的译文为研究对象,在对名著复译基本的理论说明的基础上,探讨了译文的历时变化问题。研究表明,20世纪30年代末40年代初的朱译和梁译与21世纪第二个十年问世的王译和黄译之间既有相似之处,也有明显差异。对约占一半的在英汉两种语言中文化象征意义区别不大或上下文中明确易懂的隐喻,其译法基本不变,说明新译对旧译一定的继承性和译文语言的基本稳定性。译文的主要差异表现在,与旧译相比,新译对原文的理解更准确,翻译方法更灵活、细致,文化信息更显豁,语言运用更注重自然化、形象化和表演性。
On the basis of a basic and concise theoretical definition of re-translating literature classics,part of the diachronic change marks is studied with reference to the plant-based metaphors in Hamlet and their renderings in the four Chinese translations by Zhu Shenghao,Liang Shiqiu,Wang Hongyin,and Huang Guobin respectively. It is found that between the two pairs eighty years apart,that is,Zhu's and Liang's,the two old translations,and Wang's and Huang's,the two new ones,there are both common ground and remarkable differences. For about half those metaphors with similar literal denotation and cultural connotation,and easily accessible in their contexts,their translations remain basically unchanged. For others,compared with the two old translations,the two new ones tend to be more accurate in understanding the original,more flexible and detailed in rendering methods,more revealing culturally and more natural and imageladen linguistically with better stage effect.
出处
《外文研究》
2014年第2期85-90,107-108,共8页
Foreign Studies
