归化异化视角下歌剧《卡门》汉化版本对比赏析

Comparison of Chinese Versions of Carmen from the Perspective of Domestication and Foreignization

法国现实主义作家梅里美于1845年创作的短篇小说《卡门》于1847年由法国作曲家比才改编为同名歌剧,该歌剧一经面世便引起了极大轰动,成为了至今为止世界范围内上演率最高的歌剧。自上世纪初歌剧《卡门》引入国内以来,便被改编成各种形式的艺术作品呈现给大众,在国内引起了巨大反响,已经成为我国艺术作品汉化过程中里程碑式的一部作品。本文主要在归化异化翻译策略的视角下,以比才的法语原版歌剧《卡门》作为参照,对孙慧双翻译的中文版歌剧《卡门》和由王天林导演改编自小说《卡门》的歌舞电影《野玫瑰之恋》在不同方面进行对比分析,旨在阐述和论证不同语言文化以及社会背景对于艺术作品翻译的影响以及译者应采取的翻译策略和方法。

The short story “Carmen” created by French realist writer Merimee in 1845 was adapted into an opera of the same name by French composer Bizet in 1847. The opera has caused a great sensation since its debut and has become the world’s highest staged opera so far. Since the opera Carmen was introduced into China at the beginning of last century, it has been adapted into various forms of works of art and presented to the public. It has caused a huge response in China and has become a landmark work in the process of Chinese artistic works. From the perspective of domestication and foreignization translation strategies, this paper takes Bizet’s original French opera Carmen as a ref-erence to make a comparative analysis of the Chinese version of Opera Carmen translated by Sun Huishuang and the song and dance film Love of Wild Roses adapted from the novel Carmen by di-rector Wang Tianlin in different aspects. This paper aims to expound and demonstrate the influence of different languages, cultures and social backgrounds on the translation of artistic works and the translation strategies and methods that translators should adopt.