秦腔汉英多模态双语平行语料库构建及英译上口性研究  

Construction of the Chinese-English Multimodal Bilingual Parallel Corpus of Qin Opera and Study on the Translation of Orality

作　　者：李庆明[1] 王丹妮 Li Qingming;Wang Danni(Faculty of Humanities and Foreign Languages,Xi'an University of Technology,Xi'an 710054 China)

机构地区：[1]西安理工大学人文与外国语学院,西安710054

出　　处：《西安文理学院学报（社会科学版）》2024年第3期105-111,共7页Journal of Xi’an University(Social Sciences Edition)

基　　金：国家社科基金项目:传统秦腔汉英多模态双语语料库构建与英译研究(21BYY119)。

摘　　要：秦腔是中国最古老的戏曲之一,集“唱念做打”于一体,秦腔表演蕴含着丰富的语言、唱腔、音乐、角色、服饰等多种文化内涵,具有多模态性。上口性是戏剧翻译的显著特征,秦腔戏曲唱词大多具有诗歌的音韵美,富有节奏,对白简练、干脆。基于作者国家社科基金项目所构建的秦腔汉英多模态双语平行语料库,运用多模态语料库ELAN软件,对比秦腔《关西夫子》的原文和英文译本,从唱词和念白的译文节奏性、译文与肢体动作的配合度和韵律的处理三个方面探讨秦腔戏曲英译上口性的呈现。Qin Opera is one of the oldest operas in China integrating“singing,speaking,acting and fighting”.Qin Opera performances are loaded with many cultural connotations,involving language,singing,music,roles and costumes,and hence are typical of multimodality.Orality is a distinctive feature of theatre translation.Most of Qin Opera librettos are beautiful in rhyme and rich in rhythm,and the dialogues are concise and straightforward.Based on the Chinese-English multimodal bilingual parallel corpus of Qin Opera constructed by the authors and sponsored by The National Social Science Fund of China,this paper compares the original text of Guanxi Fuzi with the English translation,employing the multimodal corpus software ELAN,and explores the presentation of orality in the translation process from three aspects:the rhythm of the translation's librettos and speaking,the cooperation degree between the translations and body movements,and the treatment of the rhymes.

关 键 词：秦腔《关西夫子》 戏曲翻译 上口性 

分 类 号：H315.9[语言文字—英语]