语料库戏剧翻译文体学任晓霏,冯庆华共43页
生态翻译学视角下的豫剧英译研究——以豫剧《清风亭》为例
076《名家名作》·翻译［摘 要］ 豫剧作为中国传统戏曲的珍贵遗产，承载着丰富的历史、文化和地方特色。
随着中国文化走向世界的步伐日益加快，豫剧在国际传播中扮演着愈发重要的角色。
豫剧英译作为文化输出的重要组成部分，既面临着机遇，也面临着挑战。
以生态翻译学的视角探讨豫剧英译中的适应性选择、选择性适应以及三维转换等问题，以期为豫剧在国际传播中找到更加贴切的表达方式。
［关 键 词］ 翻译生态学；豫剧英译；《清风亭》生态翻译学视角下的豫剧英译研究——以豫剧《清风亭》为例崔晓珂一、引言戏曲文化是中华优秀传统文化的精粹之一，作为中国五大戏曲剧种之一的豫剧，2006年被列入国家级非物质文化遗产名录。
豫剧源于中原腹地，经过多年的发展，形成了独特的河南地方风格以及浓郁的地域文化色彩，其艺术形式独特、意蕴丰富，以唱腔大气、韵味优美、故事生动深受人们喜爱。
作为中原文化的典型代表，豫剧承载着深厚的中原文化底蕴，释放着强大的民族精神力量。
因此，豫剧的海外传播对于中国文化“走出去”战略具有积极的推动作用。
但豫剧海外传播现状并不容乐观。
近年来，豫剧跟随河南卫视、河南豫剧院等文化团体前往世界多个国家和地区演出，并取得了一定的成功，但由于豫剧“走出去”的主要形式是专业团体的海外巡演，主要受众为海外华人以及海外豫剧爱好者，受众面十分狭窄且影响力有限。
同时，豫剧文化走出去离不开豫剧作品的译介。
豫剧翻译研究起步较晚，相较于其他影响力较大的剧种，豫剧英译研究与实践相对不足。
生态翻译学理论是由我国学者胡庚申教授于21世纪初提出的一种新的翻译理论研究体系，其明确指出翻译是译者以适应翻译生态环境而开展的相关选择活动，并重点强调了翻译生态环境和译者适应选择两个方面，同时生态翻译学主张“三维转换”，即以译者为中心，在语言、文化、交际三个维度上灵活运用多种翻译策略。
本文以文化“走出去”为背景，基于生态翻译理论，以豫剧电影《清风亭》翻译为案例，整体把握豫剧的翻译生态环境，对具体的翻译策略进行多维度分析，旨在通过研究为豫剧英译研究提供新的理论视角，为豫剧译者提供新的理论参考，同时为今后突破豫剧翻译瓶颈、实现豫剧高质量外译提供一些有益的建议。
英若诚戏剧外译中的文化翻译策略
英若诚戏剧外译中的文化翻译策略作者：张晓娟来源：《现代交际》2020年第17期摘要：以英若诚所译的《狗儿爷涅槃》汉英对照本为语料建立汉英平行语料库，对该戏剧译本中的物质文化、社会文化、语言文化这三类文化专有项进行翻译策略的考察和统计分析，研究发现英若诚在文化翻译中总体以语言翻译策略和绝对世界化策略为主，其他策略为补充，但三类文化翻译采取的策略存在明显差异：按照物质文化、社会文化、语言文化的顺序，语言翻译策略的使用逐渐减少，绝对世界化策略的使用逐渐增多。
分析英若诚戏剧译本中的文化翻译策略能为中国戏剧的外译和传播提供有价值的参考和借鉴。
关键词：英若诚文化翻译文化专有项平行语料库中图分类号：H315 ;文献标识码：A ;文章编号：1009-5349（2020）17-0069-04巴斯奈特（1985）认为戏剧翻译是一项不可能完成的任务。
因为以演出为目的的戏剧翻译，不仅要照顾一般语际翻译中的语言因素，还要考虑其他非语言因素，如戏剧表演的时空限制及观众的接受度等[1]。
成功的戏剧译本，必定是经过演出实践的打磨。
集导演、演员、译者于一身的英若诚在戏剧翻译中具有天然优势，他在戏剧翻译和演出实践中，形成了自己独特的翻译风格，翻译了近20部剧本，出版了《英若诚名剧译丛》，成为戏剧“演出本”翻译的典范。
《狗儿爷涅槃》是《英若诚名剧译丛》中的三部中国话剧之一，也是中国当代剧坛最成熟的剧作之一，讲述了中国农村的变迁和一位普通农民——狗儿爷的命運。
1995年英若诚将其译成英语，在美国百老汇上演。
该剧具有大量的中国文化元素，呈现了那个时代中国文化的特殊性。
英若诚凭借扎实的语言功底和丰富的舞台经验，成功地翻译了这些文化因素，并使其具备了舞台所需的“可表演性”。
一、文化与翻译翻译是一种跨文化的交际活动。
译者面临的最大挑战就是如何将源语文化中独有的元素传递到译语文化中。
1990年，翻译的文化学派代表人物巴斯奈特和勒弗维尔首次提出了“翻译的文化转向”这一口号。
非文学翻译理论与实践(第二版)
目录分析
第一章翻译概 述
第二章文学与 非文学翻译
第三章简明英 语和简明英语
运动
第四章简明英 语的基本原则
第五章搜索引 擎、电子辞书 及其在翻译中
的运用
第六章英语词 典和电子语料 库在翻译中的 运用
第七章译文臃肿和减 肥方法
第八章新旧信息和信 息流动
第九章主动语态、被 动语态和强势动词
第十章句子的长短和 简繁
非文学翻译理论与实践（第二 版）
读书笔记模板
01 思维导图
03 目录分析 05 读书笔记
目录
02 内容摘要 04 作者介绍 06 精彩摘录
思维导图
本书关
动词
全书
强势
版
翻译
实践 翻译
句子
理论
译文
长短
英语
核心
方法
句法
内容摘要
内容摘要
《非文学翻译理论与实践》归纳了非文学翻译的特点，提出以英文写作的基本原则指导汉英翻译实践，详述 如何利用传统及新兴工具辅助翻译，介绍了译文处理的基本方法，以及文化成分的翻译、翻译改写、原文纠错、 批判性思维等专业译员需要掌握的高级技能，并指出法律翻译应注意的问题。《非文学翻译理论与实践》全书脉 络清晰，译例丰富，读者可按书索技，实用性强。
第十一章核心 句分析：克服 句法障碍的有
效手段
第十二章语篇 的衔接
第十三章隐喻、 1
俗语等文化词 语的翻译
第十四章段落 2
与篇章的布局 和重组
3
第十五章酌情 改写原文
4 第十六章原文
错误的识别与 翻译方法
5 第十七章批判
性阅读与批判 性思维：译文 连贯的保障
第十八章译文 的修改
戏曲剧种介绍原语文本的多模态语用翻译视角
外语学科建设以及长治学院 ２０１８年专项课题“上党地域非遗文化的跨学科研究”。 ［作者简介］尚喜梅，女，讲师，从事功能语言学、语篇分析及翻译研究。
第三，已有戏曲翻译研究多以京剧、昆剧和越剧等大剧种的案头文本和演出文本为研究对象，对戏曲剧种 介绍文本的翻译关注不够，基本还是一片空白。
原语文本分析是翻译研究中至关重要的一部分，也是任何翻译实践活动必做的前期准备工作。戏曲剧种 介绍文本往往以图文并茂的形式呈现在读者面前，为典型的多模态文本。多模态文本中各模态相互作用，共 同完成文本意义的表征。对原语文本进行分析时，对任何一个模态的忽略、不完全或不正确解读都会直接导 致原文意义的缺损。因此，译者要正确理解原语文本的意义及其所承载的社会文化内涵，就必须对原语文本 中的各个表意模态符号资源进行正确分析。
·９０·
想和译作的分析以及戏曲翻译的国内外研究综述和戏曲海外传播现状等［６－８］。 第二，现有研究大都注意到戏曲文本的多模态性，认为戏曲文本有别于文学文本，但在翻译方法的处理上
却与文学文本基本类似，并没有将语言文字符号之外的其他戏曲符号元素考虑进去，并加以区别对待，因此戏 曲翻译理论研究并没有取得实质性突破。
多模态文本指综合运用两种或两种以上符号模态的文本。在多模态文本中，语言文字、听觉和视觉等各 符号资源相互依赖、不可分割，共同构成一个连贯的整体。因此，在语言文字和其它符号资源共存的多模态文 本中，不仅承载信息的语言文字符号资源需要被翻译，和语言文字一样在信息传递中发挥着不可或缺作用的 图像等其它符号资源也需要被翻译，否则会造成原文意义的大量缺损。当然，一个多模态文本不一定要同时 涉及所有模态资源，所涉及的多模态符号资源的数量和种类具体由多模态文本的性质和体裁所决定。
文学文体学与诗体戏剧中语言变异的翻译以哈姆雷特为例.x
一、文学文体学与戏剧翻译古今中外的译论中，对于翻译文本的形式与内容之间构成何种关系一直颇多争议，以在文学翻译中的分歧尤甚。
作为语言形式而存在的文体，与内容究竟可分或不可分？文体是文学内容的装饰品，或文体本身就是内容？笔者认为，将文学文体学这一边缘学科引入文学翻译当中，可以极有说服力地澄清在这一问题上存在的疑惑。
文学文体学，特指以阐释文学文本的主题意义和美学价值为目的的文体学派。
现代文学文体学立足于陌生化、变异与前景化等概念基础之上，对反成规化的诗学语言结构格外关注。
这种关注不仅仅停留在对语言特征的观察，而是注重从语言形式与主题意义的密切关系入手。
正如Halliday提出，判断“真正的前景化”所依赖的依据是：在我看来，前景化是下意识促动而产生的突出。
……一种数量突出的语言结构只有在与整个文本的意义相关联时，才会成为真正的前景化。
可见，在文学文体学中，文体这一研究主题被广泛定义为作者为表达或加强文本的主题意义或美学效果而有意识选择的语言特征。
于是文体与语言所传达的指称内容，这两者被置于一个与主题内容密切相关的统一体中。
从这个意义上说，文体本身就是内容。
戏剧作为会话语篇的典型分析对象，与文体学的结合当中，一般均为话语文体学或语篇文体学。
在诗歌和小说中被广泛运用的文学文体学，却极少出现在戏剧分析中。
笔者在尝试将文学文体学运用于戏剧文本解析的过程中，发现文学文体学在戏剧分析中，尤其是诗体剧中同样具有强大的阐释力，可以帮助分析文本中哪些是具有文体价值的语言结构，哪些是具有戏剧效果或表演性的语言形式。
当文学文体学被运用到戏剧翻译领域时，与被运用到小说、诗歌等其它题裁的文学翻译一样，它特别关注的是“语言变异”的翻译。
原因有二：其一，陌生化、变异和反成规化等特点揭示了文学语言的特质，决定文学作品存在价值的文学性很大程度上集中体现于语言变异或前景化；其二，在一位文学翻译者的手中，文学作品中的陌生化或变异的语言形式最容易被“再创造”，而这种“再创造”往往是不够忠实的，甚至是变了形的。
爱尔兰戏剧《翻译》英译汉翻译报告
摘要本文是一篇关于关于将爱尔兰戏剧《翻译》汉译成适合广大中国读者阅读的中文译本的翻译实践报告。
在当前英国脱欧的历史背景下，爱尔兰和北爱尔兰的边境问题成为当下国际社会密切关注的一个时事热点。
而爱尔兰戏剧《翻译》讲述了19世纪80年代一批英国皇家工程兵受英国政府派遣，在多尼戈尔郡的一个爱尔兰语社区进行地貌测绘，并将爱尔兰语地名全部翻译为英语地名的殖民史实。
通过阅读《翻译》，读者可以了解到爱尔兰19世纪的这段被大英帝国殖民统治的历史，有助于理解当前英国脱欧背景下爱尔兰热点问题的历史缘由。
在翻译剧本《翻译》之前，译者做了译前准备工作，针对剧本中的理解难点进行了分析，通过查询有关文献，发现剧本中影响译者和读者理解的很多词汇都属于文化专有项的范畴。
译者根据艾克西拉和诺德关于文化专有项的定义以及纽马克关于文化专有项的分类方法对戏剧《翻译》里出现的文化专有项进行了归类,将戏剧中出现的文化专有项分为三大类别，即地理生态，物质文化和组织机构。
然后根据戴维斯提出的七种翻译策略，以举例分析的方式阐述了译者如何利用这七种策略进行翻译实践。
接着通过举例分析了戏剧《翻译》中三大类别的文化专有项的翻译思路及其对应翻译策略。
综上所述，本文从文化专有项的翻译策略和思路来分析了爱尔兰戏剧《翻译》的翻译过程，为后面的译者在戏剧翻译方面提供了一种参考方法。
关键词：《翻译》；爱尔兰戏剧；布莱恩·弗里尔；文化专有项；AbstractThis is a translation report on the English-Chinese translation of the Irish drama Translations, which analyzes how the translator translated this drama into a target text in simplified Chinese that is readable for ordinary Chinese readers. In the context of Brexit, the Ireland border issue is currently an international hot topic that has attracted attention across the globe. The Irish drama Translations tells about h er Majestey‘s Government sending a group of royal engineers to County Donegal in Ireland to carry out the ordnance survey of this area and change all the geographic names of this county into anglicized and standardized versions in the 1880s. (Qi Yaping 2010:119) By reading Translations, readers can gain an overview on Britain‘s colonization of Ireland i n this period, which helps them understand the historical causes of the Ireland border issues.Before starting the translation task, the author made many pre-translation preparations. By studying the source text, the author found most of the unreadable terms belong to Culture-specific Items. Based on the definition of Culture-specific Items by Aixelá and Nord, as well as the classification method by Newmark, the author classified the Culture-specific Items in Translations into three main categories, ecology, material culture and organizations. By studying the seven translation methods proposed by Davies, the author analyzed each translation strategy through case studies. Then the author analyzed the translation of the three categories of Culture-specific Items in drama Translations and relevant translation strategies employed. Above all, the author of this report explored the translation of Irish drama Translations from the perspective of Culture-specific Items, which could provide later translators a reference on drama translation.Keywords：Translations; Ireland Drama; Brian Friel; Culture-specific Items;CONTENTSCHAPTER ONE INTRODUCTION (1)1.1 Brief Introduction to the Translation Task (1)1.2 Target Readers and Requirements of the Client (2)1.2.1 The Target Readers (2)1.2.2 Requirements Proposed by the Client (2)1.3 Purpose and Significance of the Translation Task (3)CHAPTER TWO PRE-TRANSLATION (4)2.1 Convert Format of the Source Text (4)2.2 Analysis of the Source Text (7)2.2.1 Historical Background of the Drama Translations (7)2.2.2 Plot and Characters of the Drama Translations (7)2.2.3 Lexical Features of the Source Text (9)2.2.4 Syntactical Features of the Source Text (10)2.3 Culture-specific Items and Their Translation Strategies (11)2.3.1 Definition of the Culture-specific Items (12)2.3.2 Division of Culture-specific Items (13)2.3.3 Translation Strategies and Methods (14)CHAPTER THREE THE TRANSLATION PROCESS (22)3.1 Translation of the Culture-specific Items on Ecology (22)3.2 Translation of the Culture-specific Items on Material Culture (23)3.3 Translation of the Culture-specific Items on Organizations Terms (25)3.3.1 Translation of Religious terms (25)3.3.2 Translation of Administrative Terms (26)3.4 Summary (27)CAPTER FOUR POST-TRANSLATION (28)CONCLUSION (29)BIBLIOGRAPHY (30)ACKNOWLEDGEMENTS (33)Appendix (34)CHAPTER ONE INTRODUCTION1.1 Brief Introduction to the Translation TaskSince the late 19th century, Irish drama has played an important role in modern theatre literature in the transmission of ideas and ideology. In the 1960s, the famous Irish playwright Brian Friel emerged with his well-known Field Day Theatre Company. Both audience and critics rapidly acknowledged his dramas. Among his acclaimed dramas, Translations is a typical drama that focuses on language and communication, with its theme concerning the relationship between language, identity, politics, history and religion. (Castro, 2013) In order to introduce this drama to Chinese readers, Professor Li Chenjian entrusted the translation task of Translations to author of the report in 2016. Translating this drama from English to Chinese is an attempt to bring Chinese readers a new vision of Irish society in the 19th century. It is also the first time this drama has been translated into Chinese.To complete this translation project, the author of this report needs to complete the following tasks:1) convert the source text from pictures of JPG format into a whole WORD document;2) edit the converted source text to prepare it for translating;3) explore the historical background and playwright‘s creat ion ideas of this drama;4) pre-read the whole text to get an overview of the language features as well as difficult sentences;5) upload the prepared source text to the online translation software Jeemaa and completing the translation process;6) review and revise the translated target text in the online database;7) export the first draft of the translation;8) add footnotes to some difficult words and sentences;9) discuss with Professor Li about the words and sentences that need to be revised;10) revise the target text according to the discussion and read through the revised text to finalize the translation.1.2 Target Readers and Requirements of the ClientBefore starting this translation task, the report author carefully studied the requirements of Professor Li as well as the target readers and previewed the source text of the translation task in order to select proper translation strategies and translation methods accordingly.1.2.1 The Target ReadersAccording to Professor Li, the target readers are general Chinese readers who are interested in theatre literature but tend to, or can only, read Chinese books. As there is no plan to stage this drama in China so far, the performability of the target text is not considered here. That is, the actors or performers of this drama are not included in the target readers. This decides the purpose of the translation task, which is to provide the ordinary Chinese readers an Ireland drama in Chinese for reading. Therefore, this translation purpose helps to select proper translation methods accordingly.Based on our current education syllabus, ordinary readers who have completed their high school education could have the ability to appreciate a drama, either on stage or on the page. However, not everyone who completed high school education is familiar with Irish History or Culture. To provide readers an accessible translation, footnotes should be added to some Culture-specific Items in the target text.1.2.2 Requirements Proposed by the ClientTo achieve a better translation of this drama, Professor Li has proposed some requirements for the target text. The requirements are as follows:1）The source text should be the authoritative version of Translations as given in theformat of JPG.2）The layout of the target text should be consistent with that of the source text.3）The language of the target texts shall be plain and simple Chinese.4）The target text should be suitable for reading rather than staging.5）Footnotes should be added to some Culture-loaded words or sentences.6）The finalized version of this translation task should be ready for printing.1.3 Purpose and Significance of the Translation TaskAccording to the demands of the target readers and the translation requirements by Professor Li, the purpose of this task is to provide the Chinese readers a Chinese version of the Ireland drama Translations.By reading Translations, the Chinese readers can gain an overview of Irish society in the 19th century. As the target text language is plain and smooth simple Chinese, general readers can read it as either a literary story or a historical legend. In the context of Brexit, reading this drama can also provide readers a historical view for the current Ireland border issues.On the other hand, the target text of this drama can also provide other translators with a reference for drama translation. During the translation process, the translator has made great efforts to translate the Culture-specific items in the source text. Davies‘ translation strategies are employed to make the translation more accurate and readable. This kind of target reader-oriented translation is also a good example for similar drama translation in the future.Besides, the author also learnt a lot on the translation strategies of drama translation during the translation process of this drama, as well as the connection between translation and culture studies, which is worth a further study.CHAPTER TWO PRE-TRANSLATIONAs mentioned before, this is the first time this drama has been translated into Chinese. Neither print nor electronic versions of this drama can be obtained in China. The source text provided by the client are pictures of the original drama in JPEG format. To start this translation task, several steps are required, including transforming the source text of Translations into an editable WORD document from these JPG format pictures, analyze the source text and select proper translation strategies and methods.2.1 Convert Format of the Source TextThe original source text is a file of pictures of the Translations in the JPG format. Just as shown in Fig. 2.1 a), it is non-editable. Therefore, the pictures should be converted into an editable WORD document first. A software named ABBYY was applied here.Fig. 2.1 a) one picture of the Translations in the JPG format After converting, the words in the pictures were kept in a WORD document. Then the WORD document was exported from the ABBYY. But the layout of the exported text was not the same as the original copy. There were mistakes in spelling, extra punctuation marks andsentences with missing words, as is shown in Fig. 2.1 b).Fig. 2.1 b) exported text in the WORD documentThe next step is to edit the exported text, correct spelling mistakes and add missing words according to the original pictures of the drama text. After that, the format of the revised text should also be reset to make it consistent with that of the source text. Then the text is ready for translation. As is shown in Fig.2.1 c), the layout of source text is now the same as it is in the original book.Fig. 2.1 c) reset source text that is ready for translation During the pre-processing of the source text, all the editing and typing should be carefully carried out according to the JPG format pictures. When it is completed, the first copy of this processed source text should also be checked sentence by sentence according to the original copy for several times to ensure it is accurate. After several proof readings untilalmost no mistake can be tracked, the source text is ready for translation. The next step is analyzing the source text.2.2 Analysis of the Source TextAs one of Brian Friel‘s representative dramatic works, Translations tells a story that happened in Baile Beag in County Donegal in Ireland in August 1833, which is based on actual historical events. To prepare for the translation task, an analysis of this drama is conducted on its historical background, plot and characters as well as its language features.2.2.1 Historical Background of the Drama TranslationsIn 1824, the British Parliament produced the first Ordnance Survey map of Ireland, which was intended to map and replace every Gaelic name by a translated English equivalent, or a comparable-sounding one in English. At the same time, the educational system in Ireland began a significant transformation. Gradually, all local Irish-speaking schools (the hedge schools) were replaced with national schools where English became the only language of instruction. Through this reform, the British clearly aimed to anglicize, or possibly even ―civilize‖ the Irish population. They also had more practical purposes, of course: taxation, penetration, and ultimately, domination (Reinares & Barberan, 2007:9)2.2.2 Plot and Characters of the Drama TranslationsBefore introducing the plot, profiles of the main characters are listed as follows according to their introduction in the drama. The introduction of the characters helps the reader to gain a quicker and better understanding of the drama plot. Therefore, this part should also be added to the target text as a reference.2.2.2.1 Introductions of the Main CharactersName IntroductionHugh The headmaster of a small hedge school housed in an old barn. He frequently drinks a large amount, but he is by no means drunk. (Brian Friel, 1996: 397) He isa consummate Irish storyteller and educator. He appears egocentric, but isabsolutely charming and astute.Manus Hugh‘s older son, Manus serves as his father‘s unpaid assistant at the hedge school, though he frequently takes the class because of his father‘s drinkinghabits. He is searching for a headmaster position of his own.Owen Hugh‘s younger son. He is now working in the English Army, as a part-time, underpaid, civilian interpreter. His job is to ―translate the quaint, archaic tongueyou people persist in speaking into the King‘s good English‖. (Brian Friel, 1996:404)Maire Manus‘s fiancée, a strong-minded and adventurous woman. (Brian Friel, 1996: 387) She wants to learn English. She is also heroine of the love triangle Manusand is involved in a romantic relationship with Manus and the Lieutenant.Lieutenant Yolland A British soldier working with Owen on the renaming of the Donegal countryside for the Ordnance Survey. Though he does not speak Gaelic, he is fascinated with the Irish countryside and fantasizes about settling down in Baile Beag. His disappearance at the end of this drama brings the drama to a climax.Captain Lancey Lieutenant Yolland‘s commanding officer. Lancey is the British captain leading the local Ordnance Survey efforts.Sarah A student in the hedge school, she has such a serious speech defect that she is considered dumb. (Brian Friel, 1996: 383) Only Manus sees her potential andteaches her slowly, painstakingly, to speak. She lives with an intensity borne ofthe need and inability to communicate.Jimmy Jack Known as the ―Infant Prodigy,‖ Jimmy Jack is a perpetual bachelor in his sixties.He lives in one set of clothes and rarely washes. Eccentric and benignly mad, heis fluent in Greek and Latin. He lives alone and comes to evening classes at thehedge school partly for the company, and partly for the intellectual stimulation.(Brian Friel, 1996: 383)Doalty An open-minded, open-hearted, generous and slightly thick young man. (Brian Friel, 1996: 389-390)Bridget A fresh young girl, ready to laugh, vain, and with a country woman‘s instinctive cunning. (Brian Friel, 1996: 390)Table 2.2.1 Main characters2.2.2.2 Plot of the TranslationsThe drama Translations was set in a hedge-school in the small town of Baile Beag, an Irish speaking community in County Donegal in the summer of 1833. Hugh O'Donnell was the headmaster of a hedge school, a kind of rural school in Ireland that provides basiceducation to farm families. Manus, Hugh's older son, helped his father to teach in the hedge-school. Hugh insisted on teaching in Irish, even though he knew that their language Gaelic would inevitably be replaced by English. Owen was Hugh‘s younger son, who came back to the town with the Royal Engineers, Captain Lancey and Lieutenant Yolland, who were sent to Baile Beag by the government to remap the Irish countryside and change place names into anglicized and standardized versions. One of the engineers, Lieutenant Yolland was then captivated by Irish culture and believes the work they were doing was an act of destruction. Besides this, a love triangle developed among Manus, Yolland and Maire, a strong-minded and adventurous woman in the village. Yolland disappeared mysteriously, and Manus left town, broken-hearted. Owen realized he must remain true to his roots and decided to join the Irish resistance. The drama ended ambiguously, with no solution to the stories, which keeps readers and audience in suspense.The plot of Translations revolves around two main events. First, the arrival of a platoon of Royal Engineers, Lancey and Yolland in Baile Beag. Second, the imminent abolition of the local hedge school, which was run by the schoolmaster Hugh; and its substitution with the new state-run national school and, consequently, the substitution of Irish for English as the teaching language of the Irish speaking community. (Randaccio 2013:115)2.2.3 Lexical Features of the Source TextAs analyzed by the translator before starting the translation task, the most unique lexical feature of the drama Translations is it contains many Gaelic words which are not easy to understand even for English-speakers, such as, poteen (爱尔兰玻丁酒), aqua vitae (―生命之水‖蒸馏酒) and aul fella (老朋友). Besides, there are also many Greek and Latin words and sentences in the drama. As their relevant English translation has been given in the Appendix of the source text, these languages are not going to be discussed here.Besides, there are also many slangs that use some simple words but difficult to understand, such as the preposit ion ‗off‘ from the following sentences.MAIRE：Honest to God, I must be going off my head. I‘m half-way here and I think to myself, ‗Isn‘t this can very light?‘ and I look into it and isn‘t it empty.（梅尔：天哪，我一定是疯了。
语料库在_红楼梦_译者风格研究中的应用_兼_省略_译者风格_红楼梦_霍克斯与闵福
外语教育出版社 ,2008 年) 。
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《〈红楼梦〉诗词曲赋英译比较研究》一书主要以原著中
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径上来看 ,该书属于比较文学研究视域下的《红楼梦》翻译 研究 。比较而言 ,冯庆华教授的两部近作显然将相关方面 的研究向前大大推进了一步 。前一本可谓包罗万象 ,是对 近 10 年来《红楼梦》翻译研究的一个精彩盘点 。各位作者 就原著中几乎所有主要语言因素展开了全面的探讨 ,其中 包括场景描写 、各种诗体 、各种修辞格 、各类习语以及中国 文化的特殊成分等 ,作者对原文和译文进行了详细的比照 和点评 ,并将翻译的理论与实践有机结合 ,贯穿始终 。后一 本《母语文化下的译者风格 ———〈红楼梦〉霍克斯与闵福德 译本研究》(以下简称《母语文化下的译者风格》) ,对目前两 个最有影响的英译本进行了选词用字以及修辞格方面的比 较研究 ,其主要特点是 “: 运用定性分析和定量分析相结合 的方法 ,通过计算机统计手段 ,细致而深入地探讨了母语文 化对译者的翻译文化观和翻译思维模式的影响”⑥ 。
该书旨在对霍克斯 、闵福德的英译本 (简称霍译) 进行 系统的评价 ,全书分为 4 章 ,作者分别从辞格翻译 、文化词 翻译 、习语翻译和词频分析等方面展开了立体式的审视和
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翻译理论的探求,武田珂代子译
『翻訳理論翻訳理論のの探求探求』』アンソニー・ピムアンソニー・ピム著著武田珂代子訳武田珂代子訳（（仮訳仮訳））みすず書房書房よより20102010年年1月刊行予定刊行予定第1章翻訳理論翻訳理論とはとはとは何何かこの短い章では、「理論」や「パラダイム」という言葉の意味、また理論の構築と翻訳の実践との関係について説明する。
また、本書の構成、翻訳理論を学ぶ理由、さらに、討論をベースとした学習プロセスでの本書の活用法についても述べる。
1.11.1 「理論理論づけづけづけ」」からから「「理論理論」」へ翻訳者は常に理論を構築している。
翻訳作業中、問題に出くわすと、通常、翻訳者はそれに対する複数の解決法の中からある選択をしなければならない。
例えば、英国の保守党（Conservative Party）の別称である‘Tory’という英語を訳さなければならないとしよう。
場合によっては、英語の言葉そのもの（「トーリー」や「Tory」）を用いて説明や脚注を入れたり、‘Conservative Party’の直訳（「保守党」）を使ったり、目標文化の政治状況の中で対応する政党の名前を用いたり、あるいはこういった厄介な問題を避けるために原語を全く訳さないで抜かすという手もあるだろう。
これらの選択肢はテクスト、翻訳の目的、クライアント次第で、すべて正当なものとなりうる。
そうした選択肢を編み出し（つまり、可能な訳を生成生成生成し）、それをもとに選ぶ（つまり、最終的な訳を選選択する）という過程は、困難で複雑な作業になりうる。
しかし、翻訳者はまさにこの作業を常に、それも、瞬時に行っているのである。
その際、つまり複数の選択肢からある一つを選ぶという意思決定をするとき、翻訳者は常に、「翻訳とは何なのか」、「翻訳はどのようになされるべきか」という問いに対するさまざまな考えを検討している。
つまり、理論づけをしているのである。
理論 ‘theory’という言葉は、ギリシャ語の ‘theā’ 「光景」と ‘–horan’ ｢見る｣に由来するという。