明清传奇戏曲叙事视角再现方式研究——以《牡丹亭》英译为例  

Research on the English Translation of Narrative Perspective in Mingqing Chuanqi Drama:Taking The Peony Pavilion as an Example

作　　者：韩娟 冯庆华[1] Han Juan;Feng Qing-hua(School of Englsih Studies,Shanghai International Studies University,Shanghai 200083,China)

机构地区：[1]上海外国语大学英语学院,上海200083

出　　处：《外语学刊》2021年第4期88-94,共7页Foreign Language Research

基　　金：上海外国语大学第二届导师学术引领计划项目“语料库研究视域下的中国文化走出去翻译策略”(2017027)的阶段性成果。

摘　　要：明清传奇戏曲作为叙事体与代言体的杂交,剧中人物具有作者直接代言人与叙述者叙事代理角色的双重身份,人物身份的转变往往引发叙事视角的转变。经过对《牡丹亭》及其3个英文全译本进行文本细读与手动识别后,发现4种经常用以再现原文叙事视角转变的方式,并对它们在再现原文叙事视角转变时的力度进行比较,旨在找出有效再现明清传奇戏曲叙事视角的可行路径,为在英语世界讲述好"戏曲典籍故事"提供一些借鉴。As an art genre, the Chuanqi drama in the Ming and Qing dynasties is a synthesis of narrative and performing arts, thus the characters in it can act as the narrator or the voice of the author, and the change between these two identities always leads to a shift of narrative perspective. Through a close reading of the dramatic masterpiece The Peony Pavilion and its three complete English translations, this study finds that four modes are often used to reproduce the perspective change of the original text, and their effects are not quite the same. All of these findings can contribute to the translation of the narrative perspective in Mingqing Chuanqi drama, and to the translation of Chinese traditional drama in the English world.

关 键 词：明清传奇戏曲 叙事视角 再现方式 《牡丹亭》英译 

分 类 号：H315[语言文字—英语]