“创译”:许渊冲莎剧翻译话语研究--基于《罗密欧与朱丽叶》翻译手稿的动静态考察  

“Creative translation”:Xu Yuanchong s translation discourse on Shakespeare translation:A static and dynamic analysis of his translation manuscript of Romeo and Juliet

作　　者：张汨[1] ZHANG Mi(Foreign Languages College,Jiangxi Normal University,Nanchang 330022,China)

机构地区：[1]江西师范大学

出　　处：《外文研究》2023年第4期76-83,105,106,共10页Foreign Studies

基　　金：2022年教育部人文社会科学重点研究基地北京外国语大学中国外语与教育研究中心第十一批“中国外语教育基金”招标项目一般课题“基于译者档案的许渊冲莎剧翻译修订研究”(ZGWYJYJJ11A153);2018年教育部社会科学研究青年基金项目“英译《诗经》副文本的社会学阐释及接受影响研究”(18YJC740090)。

摘　　要：莎士比亚戏剧在中国译介已有百余年历史,莎剧复译也一直不断进行。近年来,许渊冲从事莎剧翻译并提出“创译”翻译话语,但当前相关研究尚不多见。本文分析了“创译”话语的缘起和内涵,并以许渊冲《罗密欧与朱丽叶》翻译手稿为例,从静态和动态两个层面探讨其在实践中的具体呈现,前者通过原文与翻译手稿定稿的对比反映,后者则基于翻译手稿修订体现。研究发现,“创译”话语源于许渊冲以往文学翻译实践,在莎剧翻译实践中又得到进一步展现,翻译话语和翻译实践的一致性贯穿许译莎剧过程。The translation of Shakespeare has experienced a history of more than a hundred years in China and retranslations are still being carried out.Recently,Xu Yuanchong translated Shakespeare s plays and put forward his translation discourse of“creative translation”,but few studies on it have been conducted.Consequently,with Xu s translation manuscript of Romeo and Juliet as the case study,this article explores the presentation of“creative translation”in Xu s translating practice of Shakespeare from the static and dynamic aspects:the former is shown via the comparison between the source text and the final version of the translation manuscript while the latter is presented based on the revisions on Xu s translation manuscripts.It is found out that“creative translation”comes from Xu s previous literary translation experience and is endorsed in his translation of Shakespeare,and the consistency between his translation discourse and translation practice exists in the process of Shakespeare translation.

关 键 词：许渊冲 莎剧翻译 “创译”话语 翻译手稿 动静态呈现 

分 类 号：H315.9[语言文字—英语]