李渔小说《无声戏》概念隐喻英译研究——体验哲学视角  

C-E Translation of Conceptual Metaphors in Silent Operas Written by Li Yu:from the Perspective of Embodied Philosophy

作　　者：曹灵美 傅筠茹 CAO Ling-mei;FU Jun-ru(Zhejiang College,Shanghai University of Finance and Economics,Jinhua Zhejiang 321000)

机构地区：[1]上海财经大学浙江学院外语系,浙江金华321000 [2]上海财经大学浙江学院,浙江金华321000

出　　处：《牡丹江大学学报》2022年第6期59-64,共6页Journal of Mudanjiang University

基　　金：金华市哲学社会科学课题“李渔小说中的概念隐喻英译研究——以《无声戏》韩南译本为例”的阶段性研究成果(编号:YB2021091)。

摘　　要：文章以体验哲学为视域,重点探究韩南英译《无声戏》概念隐喻背后的身体体验、环境体验和文化体验认知成因,探讨韩南译本对目标语概念认知的影响.研究发现,对于汉英民族认知体验相同或相似的隐喻,韩南基本采取了直译源域法;然而,对于汉英民族认知体验相异的隐喻,他主要以目标语读者的认知习惯为导向,多次采用了转换源域或删除源域的方法,另有两处采用了直译源域加解释法.文章认为,在不影响目标语读者顺畅理解的前提下,建议以原语认知体验为导向,灵活采用直译源域的方法,保留异域体验,争取为目标语引入新的映射方式,扩展相关源域的使用范围.Taking Embodied Philosophy as the perspective,it analyzes the bodily,environmental and cultural experiential groundings of conceptual metaphors in Silent Operas translated by Patrick Hanan,and discusses the impact of his translation upon cognitive concepts of the target language.It is found that he predominantly retained the source domains of some metaphors with the same or similar embodiment between Chinese and English nations;however,as for those metaphors with different embodiment,he primarily consider cognitive habits of the target readers so that he mainly transferred or deleted the source domain,while retaining it with an explanation only for two times.This study reckons that,with no hindering the understanding of the target readers,the experiential groundings of metaphors in the source text should be represented by literal translation in flexible ways,with the aim to introduce new mappings for the target language and expand its scope of source domains.

关 键 词：李渔 《无声戏》 派克·韩南 概念隐喻英译 体验哲学 

分 类 号：H315.9[语言文字—英语]