“三美论”关照下的商洛花鼓唱词英译研究--以《月亮光光》和《带灯》为例  

A Study on English Translation of Librettos in Shangluo Huagu Opera--A Case Study of The Shining of the Moon and The Lantern Bearer

作　　者：田亚亚 孙雪娥[1,2] TIAN Ya-ya;SUN Xue-e(School of Humanities,Shangluo University,Shangluo 726000,Shaanxi;Research Centre of Shangluo Culture and Jia Pingwa,Shangluo University,Shangluo 726000,Shaanxi)

机构地区：[1]商洛学院人文学院,陕西商洛726000 [2]商洛学院商洛文化暨贾平凹研究中心,陕西商洛726000

出　　处：《商洛学院学报》2020年第1期28-32,56,共6页Journal of Shangluo University

基　　金：陕西省社会科学基金项目(2019M039);陕西省教育厅重点科研项目(18JZ021)。

摘　　要：商洛花鼓戏唱词具备中国传统诗歌思想、韵律、形式等方面的基本特征,其翻译可遵循许渊冲提出的诗歌翻译"三美"原则,即"意美""音美""形美"。在翻译商洛花鼓戏代表作《月亮光光》与《带灯》中的唱词时,译者应灵活采用直译、意译等翻译方法;在选择词语、句式、语态与修辞格时,应尽量关照原唱词意蕴、韵律、形式层面的特征,力求译文尽可能地兼顾原唱词的"三美",使译文读者能够产生与原文读者同样的审美感受。The libretto in Shangluo Huagu opera possesses the basic characteristics of traditional Chinese poetry in terms of thought, rhythm, and form, and its translation can follow the "three beauties" principle of poetry translation proposed by Xu Yuanchong, that is, "beauty in sense" "beauty in sound" and "beauty in form". In order to ensure that the translated text can retain as much as possible the "three beauties" of the original libretto and target readers can have the same aesthetic feelings as the original readers, in the translation of librettos in The Shining of the Moon and The Lantern Bearer, masterpieces of Shangluo Huagu opera, translators should flexibly adopt translation methods like literal translation and free translation and choose words, sentence patterns, voices, and rhetorical devices according to the feature of sense, rhythm and form of the original libretto.

关 键 词：三美论 商洛花鼓戏 唱词 英译 

分 类 号：I046[文学—文学理论] H315.9[语言文字—英语]