符际翻译模型与跨文化影视实践:以李安《少年派的奇幻漂流》中的毗湿奴形象为例  

Translating through Intersemiotic Translation Models:ACase Study ofAngLee's Vishnu Imagein Life of Pi

作　　者：张浩轩 ZHANG Haoxuan(Durham University)

机构地区：[1]杜伦大学现代语言与文化学院

出　　处：《国际比较文学（中英文）》2022年第1期141-169,共29页International Comparative Literature

摘　　要：尽管罗曼·雅各布森的符际翻译概念使我们能够通过翻译研究的棱镜探讨电影,但以逐字翻译为中心的语言到非语言的二元传播范式往往会忽视电影的非语言先验材料。为了弥补这一不足,我们将从符号学翻译模型的角度对这些非语言材料进行严格探究。本文提出了一个多层次的符号学翻译模型体系。这个系统由两个层次组成:文化和符号学。在这一系统中,每一种符际翻译模型都被认为是一种跨层次组合的结果。这种组合与特定文化系统中的特定类型的媒介系统有关,代表了一种“观察”文化视角。电影制作方常通过符际翻译模型进行翻译,并同时设法协调他们的跨文化符际翻译实践。通过李安电影《少年派的奇幻漂流》中毗湿奴形象的个案研究,笔者探讨了电影制作方对符际翻译模型的运用。本文将结合所提出的系统模型阐明李安是如何运用符际翻译模型来展现这一影视形象的。Though Roman Jakobson’s concept of intersemiotic translation enables filmto be discussed through the prismof translation studies,the binary verbumcentred paradigm of verbal to non-verbal transmission often neglects the non-verbal priormaterials of film.To remedy this deficiency,these non-verbalmaterials will be rigorously investigated under the viewpoint of intersemiotic translation models.A multilevel system of intersemiotic translation models is proposed.This system consists of a hierarchy of two levels:culture and semiotics.In this system,each intersemiotic translationmodel is considered as a result of a cross-level combination that relates to a specific type ofmedia systemfroma specific cultural system,representing a lens throughwhich a culture is“looked at”(Chow1995).It is postulated that filmmakers translate by employing intersemiotic translationmodels,through which theymediate their intersemiotic translations across cultures.This paper interrogates filmmakers’employment of intersemiotic translationmodels through a case study ofAng Lee’s Vishnu image in his film Life of Pi.How Lee manifests such an image through the employment of intersemiotic translation models is discussed and illustrated with reference to the proposed system.

关 键 词：符际翻译模型 文化 体系 李安 《少年派的奇幻漂流》 

分 类 号：J905[艺术—电影电视艺术] H315.9[语言文字—英语]