駱駝祥子讀書報告課件

TheComparisonandAppreciationofChineseTranslatedVersionsof

TheHappyPrinceContentTheAbstracttheIntroductionoftheAuthorOscarWilde

theIntroductionofTheHappyPrincetheIntroductionoftheTranslatorstheComparisonofthethreeChineseTranslationstheconclusionAbstract

隨著翻譯文化學派的興起，翻譯研究開始更多地關(guān)注翻譯行為產(chǎn)生的外部環(huán)境。勒弗維爾認為對文學翻譯的研究主要是一種社會性與歷史性的研究，研究者的注意力不應該放在字、詞的匹配上，而應該考慮譯者為何選擇這樣的匹配方式，其背后隱藏的社會的、文學的與意識形態(tài)的因素。本文擬通過對周作人，巴金和高延征的《快樂王子》(HappyPrince)的三個不同時期的中譯本的比較，探討不同譯者在特定社會歷史文化語境下，尤其是在意識形態(tài)影響力下所做出的不同的翻譯選擇。關(guān)鍵詞：《快樂王子》中譯本，特定的歷史文化背景，翻譯目的，OscarWilde-playwright,novelist,poet,critic

Born:October16,1854Birthplace:Dublin,IrelandDied:November30,1900inParis,France(cerebralmeningitis)OscarWilde,Irish-bornwriterknownforhiswrywit,wasthechiefadvocateoftheaestheticmovementbasedontheprincipleofartforart'ssake(L'artpourl'art).HewasoneofthemostsuccessfulplaywrightsoflateVictorianLondonandoneofthegreatestcelebritiesofhisdays.WildeisregardedasoneofthemostproficientandversatilewritersoftheEnglishlanguage.

BriefIntroductionofOscarWilde

SomefamousquotationsofWilde’sIhavenothingtodeclareexceptmygenius.Experienceissimplythenamewegiveourmistakes.Amancanbehappywithanywomanaslongashedoesnotloveher.Oneshouldalwaysbeinlove.Thatisthereasonwhyoneshouldnevermarry.Artisthemostintenseformofindividualismthattheworldhasknown.TheHappyPrince'isastoryofametalstatuethatmakesfriendswithamigratorybirdtobringhappinesstoacity.Thefriendshipissparkedwhenaswallowdecidestosleepatthefeetofametalstatue.Justastheswallowwasabouttosleep,itwasawokenbyseveraldropsofwater,whichturnedouttobethetearsofthestatue.TheHappyPrincewascryingbecausehecouldseethemiseryofhisowncity.Heaskedtheswallowtobehismessengerandinstructedhimtotakesapphiresandjewelsfromhisstatuetogivetotownspeoplesufferingfrommisfortune.TheHappyPrinceInChina,thefirsttranslationofhisfairytalesisZhouZuoren’sAnleiWangzi,whichisProducedinthe“MayFourth”period,withtheaimofinfusingWestemthoughtsandchangingthesocietyfor

thebetter.Zhoumainlyadoptswenyanlanguagestyleandintentional

literaltranslation.Inthepost-liberationperiod,BaJin’s.KuaileWangziJicollected

Wilde’sallninefairytales,andusesitasaspiritualweapontofightagainstevilsideofwesterncapitalism.Hislanguageissimple,colloquial,andretainsrhetoricalexpressionsforchildren.Intermsofsentence

structures,ithasthefeatureofEuropeanization.TheThreeTranslations

ZhouZuoren

(16January1885-6May1967))wasaChinesewriter,primarilyknownasanessayistandatranslator.HewastheyoungerbrotherofLuXun(ZhouShuren),thesecondofthreebrothers.Hewasparticularlyinterestedinfolklore,anthropologyandnaturalhistory.Asaprolifictranslator,heproducedmanytranslationsofclassicalGreekandclassicalJapaneseliteratures.Mostofhistranslationsarepioneering.ZhouZuoren(1904.11.25.—2005.10.17)BaJinBaJin’sCareerasaTranslatorandWriter

BaJinisaprolificwriteraswellasaproductivetranslator,thelatterofwhich,however,isnotsothatwidelyknownbythereadersastheformeris.BaJinistheraretranslatorwhodevotedalottothetranslationofchildren’sliterature.Thesetranslationsnotonlyarevaluableforchildren,butalsoareusefulforthewritersofchildren’sliterature.Analysis1這三個譯本都是按原文直譯的，周譯的字數(shù)最少，也是最難理解的，比如其中的“飛經(jīng)水次”、“與葦邂逅”、“止與問詢”這些表述。高譯是最適合兒童閱讀的，他的語言最生動形象。比如“他被她的纖纖細腰給迷住了”，其他兩個譯本分別是“愛其纖腰”和“她的細腰很引起他的注意”，高譯用了“迷住了”、“纖纖細腰”，這樣的表述更容易在讀者面前呈現(xiàn)出栩栩如生的畫面。而巴譯“引起注意”意思就不是很明確，為什么會引起注意可能兒童讀者也不是很清楚。2.InthedaytimeIplayedwithmycompanionsinthegarden,andintheeveningIledthedanceinthegreathall.Roundthegardenranaveryloftywall,butInevercaredtoaskwhatlaybeyondit,everythingaboutmewassobeautiful.周譯：晝游苑中、夕就廣殿、歌舞相樂、苑外圍以崇墉、吾但見是中之美、更無暇問此外何有矣。巴譯：白天有人陪我在花園里玩，晚上我又在大廳里領(lǐng)頭跳舞。花園的四周圍著一道高墻，我就從沒有想到去問人墻外是什么樣的景象，我眼前的一切都非常完美。高譯：白天我和伙伴們在花園里玩耍，夜晚我在大廳里帶頭跳舞?；▓@的周圍有一道很高很高的墻，但我從來就沒想過要去了解墻外的世界，因為我周圍的一切是那么的美。Examples2Thestreetslookedasiftheyweremadeofsilver,theyweresobrightandglistening;longicicleslikecrystaldaggershungdownfromtheeavesofthehouses,everybodywentaboutinfurs,andthelittleboysworescarletcapsandskatedontheice.周譯：道路皆凍、皓然作銀色。人家檐下冰筋下垂、如水精匕首。行人咸御重裘、兒童戴絳巾、群走冰上。巴譯：街道仿佛是用銀子筑成的，它們是那么亮，那么光輝，長長的冰柱像水晶的短劍似的懸掛在檐前，每個行人都穿著皮衣，小孩們也戴上紅帽子溜冰取樂。高譯：街道看上去好像是銀子鋪成的，亮晶晶的，閃閃發(fā)光。長長的冰柱就像一把把水晶短劍，從屋檐上垂下來。每個行人都穿著皮衣，小孩子們也戴上了猩紅色的小帽在溜冰。Examples3巴譯和高譯都將這段話處理成了三句，而周譯卻只用了一句話。其實這三句話中每句話都描述的一個不同的主體，第一句表述的街道，第二句屋檐，第三句人。所以分開處理要更加合適，一目了然，適合大眾閱讀。高譯中還用到了疊詞“亮晶晶”、“閃閃發(fā)光”讓文章更加有趣味，對場景的描寫也躍然紙上。Analysis3Sotheswallowpickedoutthegreatrubyfromtheprince’ssword,andflewawaywithitinhisbeakovertheroofsofthetown..周譯：燕取瓊瑤、銜之咮間、越屋而去。巴譯：燕子便從王子的劍柄上啄下了那塊大紅寶石，銜著它飛起來，飛過櫛比的屋頂，向遠處飛去了.高譯：燕子于是從王子的劍柄上啄下了那塊大紅寶石，銜著它飛了起來。它飛過城里那一排排的屋頂，向遠處飛去了。Examples4翻譯“overtheroofs”時，周譯用的是“越屋而去”，并沒有體現(xiàn)出“roofs”這個附屬概念。巴譯則使用了“櫛比”一詞，沒有身后的中國古文基礎的人也很難明白這個櫛比到底是什么意思。而高譯使用的是“一排排”簡單明了，也將原文的意思準確的表達了出來，適合兒童閱讀。Analysis4Fromtheperspectiveoflanguagestyle,thesethreerepreseniative

ChinesetranslationsofOsearWildefairytalesshowthechangefromWenyanlanguagestyletobaihua;and