《金瓶梅》的服饰文化与翻译——以埃杰顿和芮效卫两个英译本为例  

Finery Culture in Chin P'ing Mei and its Translation——Taking the Two English Versions by Clement Egerton and David Tod Roy as Examples

作　　者：聂影影[1] 

机构地区：[1]天津财经大学人文学院,天津300222

出　　处：《河北工业大学学报（社会科学版）》2012年第4期82-87,共6页Journal of Hebei University of Technology：Social Sciences Edition

摘　　要：《金瓶梅》这部明代"第一奇书"对服饰文化进行了丰富而翔实的描写,或刻画人物形象,或揭示身份地位,或展现世风时俗。如何将它们的色彩、样式以及所蕴含的文化译成英语是一个巨大的挑战,也是关系到作品所反映的社会风俗、礼仪制度、人物性格、主题思想等能否得以准确传达的重要问题。本文从服饰的颜色款式、补子、丧服、簪子四个方面对英国汉学家埃杰顿(ClementEgerton)和美国汉学家芮效卫(David Tod Roy)翻译的两个译本进行比较研究,以期发现两个译本在服饰翻译策略方法上的异同及其所产生的效果。Chin Ping Mei,as the first masterpiece in the Ming Dynasty,describes the character＇s garments and adornments abundantly and accurately,which helps to depict the image of the characters,reveal the status of figures,and demonstrate social mood and custom.How to translate the color,style of clothes and the cultural factors into English is challenging and important in reflecting and conveying the social custom,etiquette system,character of roles as well as the theme.From such four aspects as the color,the style of garments,Buzi,mourning gown and hairpin,the paper makes a comparative study of the English versions by Clement Egerton,the British Sinologist and by David Tod Roy,the American Sinologist,in hope of finding out similarities and differences of translating strategies as well as their effects and tries to summarize the possible methods in finery translation.

关 键 词：《金瓶梅》 服饰文化 翻译 策略与方法 

分 类 号：H059[语言文字—语言学]