认知隐喻视角下莎剧中的性语言及其翻译
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摘要
从广义上来讲,“性语言”的涵盖面较广。在莎剧中,“性语言”的表达形式多为猥亵语,且绝大部分是假藉文字游戏,尤其所谓双关语(梁实秋,2002)。因此,本文主要从微观角度来探讨莎剧中的性语言。
在莎剧中,性语言多以文字游戏的形式呈现,它不仅可以增添幽默和讽刺的戏剧效果,还可以深刻展示人物的形象,揭示人物的内心,已经成为了莎氏戏剧语言的一大特色。然而,纵观国内外对这一语言现象的研究,在语言和翻译两个方面都不够深入且缺乏系统的理论支撑,尤其是国内的研究,由于社会和道德观念的种种束缚,几乎呈现空白状态。在现有汉译本中,性语言的翻译也存在大量问题,漏译和误译的情况较多,且大多未能体现莎士比亚原语的精妙。
基于以上研究现状,本文尝试运用认知隐喻理论,对莎剧中的性语言进行分析并对其翻译进行探讨。通过追溯认知隐喻理论的发展过程,本文认为该理论能为隐喻的构建以及隐喻翻译的心智过程提供有力的分析工具,将其运用到莎剧作品研究中可以为莎士比亚研究提供新的视角。
本文选取《爱的徒劳》这部莎士比亚的早期作品作为主要语料,同时穿插《一报还一报》、《罗密欧与朱丽叶》、《哈姆莱特》和《温莎的风流娘们儿》等几部作品中的台词,结合认知隐喻理论将其中的性语言进行分类,并总结其隐喻功能。通过对梁实秋、朱生豪和方平三位翻译家译本的对比和分析,本人总结出了现有译本中译者对莎剧性语言的主要处理方式及存在的问题。在此基础上,本文运用认知隐喻理论分析了莎剧性语言的翻译过程,指出该过程就是译者在两种不同文化和语言之间构建和重构性隐喻概念的心智处理过程,从而在该视角下尝试性地提出了映射对等翻译和偏移等效翻译两大翻译策略。
从认知语言学的角度研究莎剧性语言的翻译是莎士比亚翻译研究的新视角,希望能弥补该领域的不足。
Generally speaking,"sexual language" covers a broad range of connotations. In Shakespeare's plays, sexual language mostly refers to bawdy that is often expressed metaphorically in the form of wordplays, especially by puns (Liang Shiqiu,2002). In view of this, this thesis is to initiate an analysis into the sexual language in Shakespeare's plays from a micro perspective.
In Shakespeare's plays, wordplays are frequently used for conveying the sexual implications. The sexual language, not only heighten the dramatic effect of humor and sarcasm but also represent characters'images and reveal characters'thoughts, has featured in Shakespeare's dramatic language. However, according to the author's investigations, without systematic theoretic foundations, the studies on neither language nor translation level of Shakespeare's sexual language are comprehensive and profound. Particularly, because of the social and moral constraint, the domestic studies are nearly blank. And in the current Chinese translation versions, there are a lot of problems on the sexual language's translations, most of which could not represent the exquisiteness and delicateness of the source language.
Based on the current research, this thesis tries to use the cognitive metaphor theory to analyze the sexual language in Shakespeare's plays and its Chinese translations. By tracing back the development of cognitive metaphor theory, the author believes that this theory can be manipulated as an appropriate and powerful application to analyze the construing of metaphors and the mental process of metaphor translation, and it also provides a new perspective for Shakespearean studies.
In this thesis, one of Shakespeare's early comedies Love's Labour's Lost is used as the main data, at the same time, some lines from Measure for Measure, Romeo and Juliet, Hamlet, and Merry Wives for Windsor are selected. On the basis of cognitive metaphor theory, the classification of sexual language and the summarization of its metaphoric functions are done. Also, by combining a contrastive analysis of Liang Shiqiu, Zhu Shenghao and Fang Ping's translations, this thesis makes a conclusion of the main translating methods used in the current translation versions and the problems remained. At the end of this thesis, cognitive metaphor theory is again applied to discuss the translating process of Shakespeare's sexual language, and two key translation strategies----equivalent mapping translation and equivalent deviating translation----as well as some other strategies are proposed.
Doing translation studies on Shakespeare's sexual language from the perspective of cognitive metaphor is brand new, and hopefully it can fill the gap for this research area.
在莎剧中,性语言多以文字游戏的形式呈现,它不仅可以增添幽默和讽刺的戏剧效果,还可以深刻展示人物的形象,揭示人物的内心,已经成为了莎氏戏剧语言的一大特色。然而,纵观国内外对这一语言现象的研究,在语言和翻译两个方面都不够深入且缺乏系统的理论支撑,尤其是国内的研究,由于社会和道德观念的种种束缚,几乎呈现空白状态。在现有汉译本中,性语言的翻译也存在大量问题,漏译和误译的情况较多,且大多未能体现莎士比亚原语的精妙。
基于以上研究现状,本文尝试运用认知隐喻理论,对莎剧中的性语言进行分析并对其翻译进行探讨。通过追溯认知隐喻理论的发展过程,本文认为该理论能为隐喻的构建以及隐喻翻译的心智过程提供有力的分析工具,将其运用到莎剧作品研究中可以为莎士比亚研究提供新的视角。
本文选取《爱的徒劳》这部莎士比亚的早期作品作为主要语料,同时穿插《一报还一报》、《罗密欧与朱丽叶》、《哈姆莱特》和《温莎的风流娘们儿》等几部作品中的台词,结合认知隐喻理论将其中的性语言进行分类,并总结其隐喻功能。通过对梁实秋、朱生豪和方平三位翻译家译本的对比和分析,本人总结出了现有译本中译者对莎剧性语言的主要处理方式及存在的问题。在此基础上,本文运用认知隐喻理论分析了莎剧性语言的翻译过程,指出该过程就是译者在两种不同文化和语言之间构建和重构性隐喻概念的心智处理过程,从而在该视角下尝试性地提出了映射对等翻译和偏移等效翻译两大翻译策略。
从认知语言学的角度研究莎剧性语言的翻译是莎士比亚翻译研究的新视角,希望能弥补该领域的不足。
Generally speaking,"sexual language" covers a broad range of connotations. In Shakespeare's plays, sexual language mostly refers to bawdy that is often expressed metaphorically in the form of wordplays, especially by puns (Liang Shiqiu,2002). In view of this, this thesis is to initiate an analysis into the sexual language in Shakespeare's plays from a micro perspective.
In Shakespeare's plays, wordplays are frequently used for conveying the sexual implications. The sexual language, not only heighten the dramatic effect of humor and sarcasm but also represent characters'images and reveal characters'thoughts, has featured in Shakespeare's dramatic language. However, according to the author's investigations, without systematic theoretic foundations, the studies on neither language nor translation level of Shakespeare's sexual language are comprehensive and profound. Particularly, because of the social and moral constraint, the domestic studies are nearly blank. And in the current Chinese translation versions, there are a lot of problems on the sexual language's translations, most of which could not represent the exquisiteness and delicateness of the source language.
Based on the current research, this thesis tries to use the cognitive metaphor theory to analyze the sexual language in Shakespeare's plays and its Chinese translations. By tracing back the development of cognitive metaphor theory, the author believes that this theory can be manipulated as an appropriate and powerful application to analyze the construing of metaphors and the mental process of metaphor translation, and it also provides a new perspective for Shakespearean studies.
In this thesis, one of Shakespeare's early comedies Love's Labour's Lost is used as the main data, at the same time, some lines from Measure for Measure, Romeo and Juliet, Hamlet, and Merry Wives for Windsor are selected. On the basis of cognitive metaphor theory, the classification of sexual language and the summarization of its metaphoric functions are done. Also, by combining a contrastive analysis of Liang Shiqiu, Zhu Shenghao and Fang Ping's translations, this thesis makes a conclusion of the main translating methods used in the current translation versions and the problems remained. At the end of this thesis, cognitive metaphor theory is again applied to discuss the translating process of Shakespeare's sexual language, and two key translation strategies----equivalent mapping translation and equivalent deviating translation----as well as some other strategies are proposed.
Doing translation studies on Shakespeare's sexual language from the perspective of cognitive metaphor is brand new, and hopefully it can fill the gap for this research area.
引文
2 All examples are cited from Shakespeare:Complete Works. (Oxford:Oxford University Press, 1966.)
3 According to刘冀斌(2010), cognitive contexts include linguistic context, situation and knowledge context
4 According to Ellis (1973:149), Shakespeare's pronunciation on the word "edict" is (1) a slighted initial e; (2) main stress on the last syllable, and (3) apocope of final t.
5 Elizabethan slang for "strumpet, or loose woman" (Ellis:1973:66).
6 Por-and par-would have been indistinguishable in the speech of many Londoners of Shakespearean days. And the word "partridge" illustrates the silent pre-consonantal r, "porridge" the "flapped" intervocalic r.
7 According to Ellis (1973:150), e ofedict could reasonably have been pronounced [i] or [a], either of which would have approximated nearly enough the vowel of-ed in lated.
8 Armardo recites a verse:"The fox, the ape, and the humble-bee/Were still at odds, being but three". The he makes the'Tenovy" as "Until the goose came out of door/Staying the odds by adding four". Here, the "fox, ape, and the humble-bee" could probably mean three men, and the "goose" a woman.
9 Katharine laughs at Rosaline's dark skin in the above line.
[1]Alexander, Catherine M. S. and Stanley, Wells. Shakespeare and Sexuality [C]. Cambridge:Cambridge University Press,2001.
[2]Armstrong, Philip. Shakespeare in Psychoanalysis [M]. London and New York: Routledge,2001.
[3]Aristotle. Poetics [M]. Oxford:Oxford University Press,2007.
[4]Aristotle. Rhetoric [M]. Oxford:Oxford University Press,2007.
[5]Ayto, John, Dictionary of Word Origins [Z]. New York:Arcade Publishing,1993.
[6]Black, Max. Models and Metaphors [M]. Ithaca:Cornell University Press,1962.
[7]Charney, Maurice. Shakespeare on Love and Lust [M]. New York:Columbia University Press,2000.
[8]Colman, E. A. M. The Dramatic Use of Bawdy in Shakespeare [M]. London: Longman,1974.
[9]Cummings, Peter. The Making of Meaning:Sex Words and Sex Acts in Shakespeare's Othello [J]. The Gettysburg Review,1990 (1).
[10]Danks, J. H. Cognitive Process in Translating and Interpreting [C]. California: Saga Publication,1997.
[11]Ellis, H. A. Shakespeare's Lusty Punning in Love's Labour's Lost [M]. The Hague/Paris:Mouton,1973.
[12]Fauconnier, G. and Mark, T. Blending as a Central Process of Grammar [A]. In Conceptual Structure, Discourse and Language Conference. Conceptual Structure, Discourse, and Language [C]. Cambridge:Cambridge University Press,1996:113-129.
[13]Fauconnier, G. and Mark, T. The Way We Think----Conceptual Blending and the Mind's Hidden Complexities [C]. New York:Basic Books,2002.
[14]Fauconnier, Gilles. Mapping in Thought and Language [M]. Cambridge: Cambridge University Press,1997.
[15]Fisher, William. Before Pornography:Erotic Writing in Early Modern England [J]. Shakespeare Quarterly,2002 (4).
[16]Gorgas, Annet. The Use of Bawdy in Shakespeare's King Lear and As You Like It [EB].:http://www.grin.com/e-book/74618/.2011-10-15.
[17]Gutt, Ernst-August. Translation and Relevance:cognitive and context [M]. Oxford:Basil Blackwell,1991.
[18]Hulme, Hilda M. Explorations in Shakespeare's Language:Some Problems of Word Meaning in the Dramatic Text [M]. London:Longmans,1977.
[19]Joseph, M. Shakespeare's Use of the Arts of Language [M]. New York:Columbia University Press,1947.
[20]Kahn, C. Shakespeare in Psychoanalysis [J]. Shakespeare Quarterly, 2002 (4).
[21]Kiernan, P. Shakespeare's Most Outrageous Sexual Puns [M]. London:Quercus Publishing Pic.,.2006.
[22]Kokeritz, Helge. Shakespeare's Pronunciation [M]. New Haven:Yale University Press,1953.
[23]Lakoff, G. and Mark, J. Metaphors We Live By [M]. Chicago:University of Chicago Press,1980.
[24]Lakoff, G. The Contemporary Theory of Metaphor [A]. In Ortony, Andrew. Metaphor and Thought (The 2nd Edition) [M]. Cambridge:Cambridge University Press.1993.
[25]Moulton, I. F. Before Pornography:Erotic Writing in Early Modern England [M]. Oxford and New York:Oxford University,2000.
[26]Partridge, E. Shakespeare's Bawdy [Z]. London and New York:Taylor and Francis e-library,2005.
[27]Radel, N. F. Shakespeare, Authority, Sexuality:Unfinished Business in Cultural Materialism [J]. Shakespeare Quarterly,2007 (3).
[28]Richards, I. A. The Philosophy of Rhetoric [M]. Oxford:Oxford University Press,1936.
[29]Rubinstein, F. A Dictionary of Shakespeare's Sexual Puns and Their Significance [Z]. London:Macmillan Press Ltd.1984.
[30]Shakespeare, William. William Shakespeare:The Complete Works (Compact Edition) [M]. Oxford:Clarendon Press,1994.
[31]Shreve, G. M. and E, Angelone. Translation and Cognition [C]. Amsterdam: John Benjamins Publishing Company,2010.
[32]Sinclair, John. Collins Cobuild English Language Dictionary [Z]. William Collins Sons& Co Ltd.,1987.
[33]Sinfield, Alan. Shakespeare, Authority, Sexuality:Unfinished Business in Cultural Materialism [M]. London and New York:Routledge,2006.
[34]Spurgeon, Caroline F. E. Shakespeare's Imagery and What it Tells Us [M]. Cambridge:Cambridge University Press,1935.
[35]Tillyard, E. M. W. Shakespeare's Early Comedies [M]. New Jersey:Humanities Press,1983.
[36]Traci, Philip J. Suggestions about the Bawdry in Romeo and Juliet [J]. South Atlantic Quarterly,1972 (4).
[37]Ungerer, F. and H. J, Schmid. An Introduction to Cognitive Linguistics [M]. Beijing:Foreign Teaching and Research Press,2001.
[38]Wells, Stanley. Looking for Sex in Shakespeare [M]. Cambridge:Cambridge University Press,2004.
[39]Wells, Stanley. Shakespeare, Sex and Love [M]. Oxford:Oxford University Press, 2010.
[40]Williams, Gordon. Shakespeare's Sexual Language:A Glossary [Z], London/New York:Continuum,2006.
[41]陈琳.莎士比亚双关语的翻译[D].硕士学位论文.洛阳：解放军外国语学院,2006.
[42]阮坤,方平译.新莎士比亚全集：第一卷,早期喜剧[M].石家庄：河北教育出版社,2000.
[43]阮坤,方平译.新莎士比亚全集：第二卷,悲剧[M].石家庄：河北教育出版社,2000.
[44]阮坤,方平译.新莎士比亚全集：第四卷,喜剧[M].石家庄：河北教育出版社,2000.
[45]顾绶昌.关于莎士比亚的语言问题[A].见：中国莎士比亚研究会.莎士比亚研究创刊号[C].杭州：浙江人民出版社,1983.
[46]兰彩玉.莎士比亚文字游戏的翻译及其案例分析《罗密欧与朱丽叶》[D].硕士学位论文.广州：华南师范大学,2005.
[47]李伟民.中国莎士比亚翻译研究五十年[J].中国翻译,2004,(5)
[48]梁实秋.梁实秋读书札记[M].北京：中国广播电视出版社,1990.
[49]梁实秋译.莎士比亚全集[M].北京：中国广播电视出版社,1995.
[50]刘炳善.英汉双解莎士比亚大词典[Z].郑州：河南人民出版社,2002.
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3 According to刘冀斌(2010), cognitive contexts include linguistic context, situation and knowledge context
4 According to Ellis (1973:149), Shakespeare's pronunciation on the word "edict" is (1) a slighted initial e; (2) main stress on the last syllable, and (3) apocope of final t.
5 Elizabethan slang for "strumpet, or loose woman" (Ellis:1973:66).
6 Por-and par-would have been indistinguishable in the speech of many Londoners of Shakespearean days. And the word "partridge" illustrates the silent pre-consonantal r, "porridge" the "flapped" intervocalic r.
7 According to Ellis (1973:150), e ofedict could reasonably have been pronounced [i] or [a], either of which would have approximated nearly enough the vowel of-ed in lated.
8 Armardo recites a verse:"The fox, the ape, and the humble-bee/Were still at odds, being but three". The he makes the'Tenovy" as "Until the goose came out of door/Staying the odds by adding four". Here, the "fox, ape, and the humble-bee" could probably mean three men, and the "goose" a woman.
9 Katharine laughs at Rosaline's dark skin in the above line.
[1]Alexander, Catherine M. S. and Stanley, Wells. Shakespeare and Sexuality [C]. Cambridge:Cambridge University Press,2001.
[2]Armstrong, Philip. Shakespeare in Psychoanalysis [M]. London and New York: Routledge,2001.
[3]Aristotle. Poetics [M]. Oxford:Oxford University Press,2007.
[4]Aristotle. Rhetoric [M]. Oxford:Oxford University Press,2007.
[5]Ayto, John, Dictionary of Word Origins [Z]. New York:Arcade Publishing,1993.
[6]Black, Max. Models and Metaphors [M]. Ithaca:Cornell University Press,1962.
[7]Charney, Maurice. Shakespeare on Love and Lust [M]. New York:Columbia University Press,2000.
[8]Colman, E. A. M. The Dramatic Use of Bawdy in Shakespeare [M]. London: Longman,1974.
[9]Cummings, Peter. The Making of Meaning:Sex Words and Sex Acts in Shakespeare's Othello [J]. The Gettysburg Review,1990 (1).
[10]Danks, J. H. Cognitive Process in Translating and Interpreting [C]. California: Saga Publication,1997.
[11]Ellis, H. A. Shakespeare's Lusty Punning in Love's Labour's Lost [M]. The Hague/Paris:Mouton,1973.
[12]Fauconnier, G. and Mark, T. Blending as a Central Process of Grammar [A]. In Conceptual Structure, Discourse and Language Conference. Conceptual Structure, Discourse, and Language [C]. Cambridge:Cambridge University Press,1996:113-129.
[13]Fauconnier, G. and Mark, T. The Way We Think----Conceptual Blending and the Mind's Hidden Complexities [C]. New York:Basic Books,2002.
[14]Fauconnier, Gilles. Mapping in Thought and Language [M]. Cambridge: Cambridge University Press,1997.
[15]Fisher, William. Before Pornography:Erotic Writing in Early Modern England [J]. Shakespeare Quarterly,2002 (4).
[16]Gorgas, Annet. The Use of Bawdy in Shakespeare's King Lear and As You Like It [EB].:http://www.grin.com/e-book/74618/.2011-10-15.
[17]Gutt, Ernst-August. Translation and Relevance:cognitive and context [M]. Oxford:Basil Blackwell,1991.
[18]Hulme, Hilda M. Explorations in Shakespeare's Language:Some Problems of Word Meaning in the Dramatic Text [M]. London:Longmans,1977.
[19]Joseph, M. Shakespeare's Use of the Arts of Language [M]. New York:Columbia University Press,1947.
[20]Kahn, C. Shakespeare in Psychoanalysis [J]. Shakespeare Quarterly, 2002 (4).
[21]Kiernan, P. Shakespeare's Most Outrageous Sexual Puns [M]. London:Quercus Publishing Pic.,.2006.
[22]Kokeritz, Helge. Shakespeare's Pronunciation [M]. New Haven:Yale University Press,1953.
[23]Lakoff, G. and Mark, J. Metaphors We Live By [M]. Chicago:University of Chicago Press,1980.
[24]Lakoff, G. The Contemporary Theory of Metaphor [A]. In Ortony, Andrew. Metaphor and Thought (The 2nd Edition) [M]. Cambridge:Cambridge University Press.1993.
[25]Moulton, I. F. Before Pornography:Erotic Writing in Early Modern England [M]. Oxford and New York:Oxford University,2000.
[26]Partridge, E. Shakespeare's Bawdy [Z]. London and New York:Taylor and Francis e-library,2005.
[27]Radel, N. F. Shakespeare, Authority, Sexuality:Unfinished Business in Cultural Materialism [J]. Shakespeare Quarterly,2007 (3).
[28]Richards, I. A. The Philosophy of Rhetoric [M]. Oxford:Oxford University Press,1936.
[29]Rubinstein, F. A Dictionary of Shakespeare's Sexual Puns and Their Significance [Z]. London:Macmillan Press Ltd.1984.
[30]Shakespeare, William. William Shakespeare:The Complete Works (Compact Edition) [M]. Oxford:Clarendon Press,1994.
[31]Shreve, G. M. and E, Angelone. Translation and Cognition [C]. Amsterdam: John Benjamins Publishing Company,2010.
[32]Sinclair, John. Collins Cobuild English Language Dictionary [Z]. William Collins Sons& Co Ltd.,1987.
[33]Sinfield, Alan. Shakespeare, Authority, Sexuality:Unfinished Business in Cultural Materialism [M]. London and New York:Routledge,2006.
[34]Spurgeon, Caroline F. E. Shakespeare's Imagery and What it Tells Us [M]. Cambridge:Cambridge University Press,1935.
[35]Tillyard, E. M. W. Shakespeare's Early Comedies [M]. New Jersey:Humanities Press,1983.
[36]Traci, Philip J. Suggestions about the Bawdry in Romeo and Juliet [J]. South Atlantic Quarterly,1972 (4).
[37]Ungerer, F. and H. J, Schmid. An Introduction to Cognitive Linguistics [M]. Beijing:Foreign Teaching and Research Press,2001.
[38]Wells, Stanley. Looking for Sex in Shakespeare [M]. Cambridge:Cambridge University Press,2004.
[39]Wells, Stanley. Shakespeare, Sex and Love [M]. Oxford:Oxford University Press, 2010.
[40]Williams, Gordon. Shakespeare's Sexual Language:A Glossary [Z], London/New York:Continuum,2006.
[41]陈琳.莎士比亚双关语的翻译[D].硕士学位论文.洛阳：解放军外国语学院,2006.
[42]阮坤,方平译.新莎士比亚全集：第一卷,早期喜剧[M].石家庄：河北教育出版社,2000.
[43]阮坤,方平译.新莎士比亚全集：第二卷,悲剧[M].石家庄：河北教育出版社,2000.
[44]阮坤,方平译.新莎士比亚全集：第四卷,喜剧[M].石家庄：河北教育出版社,2000.
[45]顾绶昌.关于莎士比亚的语言问题[A].见：中国莎士比亚研究会.莎士比亚研究创刊号[C].杭州：浙江人民出版社,1983.
[46]兰彩玉.莎士比亚文字游戏的翻译及其案例分析《罗密欧与朱丽叶》[D].硕士学位论文.广州：华南师范大学,2005.
[47]李伟民.中国莎士比亚翻译研究五十年[J].中国翻译,2004,(5)
[48]梁实秋.梁实秋读书札记[M].北京：中国广播电视出版社,1990.
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