發(fā)布時(shí)間：2018-04-12 22:33

  本文選題：顧仲彝 + 改譯劇　； 參考：《北京外國(guó)語大學(xué)》2017年碩士論文

【摘要】：顧仲彝(1903.12.12-1965.02.07)是中國(guó)著名的戲劇家、翻譯家、教育家,為中國(guó)的話劇發(fā)展做出了重要的貢獻(xiàn)。觀其一生,作為戲劇家,顧仲彝創(chuàng)作、改譯了多部戲劇,并始終不渝地參與著中國(guó)話劇運(yùn)動(dòng)的重要?dú)v程;作為翻譯家,顧仲彝重視向我國(guó)讀者介紹外國(guó)戲劇,翻譯了多個(gè)作家的多部作品;作為教育家,顧仲彝親手創(chuàng)辦了上海戲劇實(shí)驗(yàn)學(xué)校(即上海戲劇學(xué)院的前身),為我國(guó)的戲劇領(lǐng)域培養(yǎng)了眾多人才。本研究立足于顧仲彝的改譯劇,作為中國(guó)話劇史上改譯外國(guó)戲劇最多的劇作家,顧仲彝從1925年到1947年共創(chuàng)作改譯劇22部,其中有多部常年上演,成為了中國(guó)話劇史上的經(jīng)典之作。改譯是一個(gè)立足于本民族需求,將外國(guó)戲劇融入中國(guó)本土的過程,改譯者如何通過改譯作品傳遞社會(huì)和文化的意義體現(xiàn)了改譯者的思想和眼光。本文首先從顧仲彝一生的教育教學(xué)及戲劇活動(dòng)出發(fā),探究其改譯實(shí)踐和具體的話劇活動(dòng)之間的關(guān)系,以此更為全面地理解改譯者改譯的初衷、目的及意義。其次,顧仲彝作為戲劇家同時(shí)作為教育家,他主動(dòng)地通過改譯戲劇表達(dá)了一定的社會(huì)教育的思想。在中國(guó)話劇發(fā)展最為重要的兩個(gè)時(shí)期——"五四"和抗戰(zhàn)時(shí)期,顧仲彝通過不同劇目的改譯表達(dá)了他對(duì)社會(huì)問題的關(guān)注,期望發(fā)揮戲劇的社會(huì)教育功能,以此促進(jìn)民智民德的進(jìn)步、激發(fā)愛國(guó)愛民的熱情,培養(yǎng)高尚的思想情操,從而改造改良社會(huì)。如《人之初》的改譯,通過主人公張伯南從一個(gè)正直的小學(xué)教員在金錢世界中墮落的遭遇,表達(dá)了劇作家對(duì)于金錢社會(huì)的諷刺與批判,在抗戰(zhàn)的語境中,啟示了人們應(yīng)該走的道路;《生財(cái)有道》的改譯,在增添的抗戰(zhàn)背景下,有目的地轉(zhuǎn)換了"吝嗇"的含義,通過"慳吝人"指涉在國(guó)難當(dāng)頭仍自私自利,只求"小我"的自保而無視民族危難的利己主義者;《梅蘿香》的改譯,在"五四"社會(huì)問題劇興盛的時(shí)代背景下,以一個(gè)"墮落的娜拉"的女伶形象引起了觀眾的惋惜與哀嘆,以她不幸的愛情悲劇引發(fā)了觀眾對(duì)婦女命運(yùn)問題的討論。最后,改譯戲劇的本質(zhì)是為了舞臺(tái)表演。在改譯的過程中,顧仲彝從"語言""舞臺(tái)動(dòng)作"及"布景"三個(gè)方面進(jìn)行了重要的考量,通過這三方面的改譯,將那些與中國(guó)文化很不相同的西方作品融入到了中國(guó)土壤中,完成了異質(zhì)文化的轉(zhuǎn)換,贏得了觀眾與時(shí)代的民族認(rèn)同。附錄部分筆者根據(jù)已有資料分析并加以補(bǔ)充,整理出了顧仲彝改譯劇目一覽表及顧仲彝生平簡(jiǎn)表,并通過申報(bào)數(shù)據(jù)庫(kù)、民國(guó)報(bào)刊索引等數(shù)據(jù)庫(kù)全面搜集了有關(guān)顧仲彝的戲劇實(shí)踐活動(dòng)資料及改譯劇的文本資料,整理出顧仲彝改譯劇從1937年到1945年的上演情況,對(duì)現(xiàn)有研究進(jìn)行了一定的補(bǔ)充。
[Abstract]:Gu Zhongyi (1903.12.12-1965.02.07) is a famous Chinese dramatist, translator and educator, who has made great contributions to the development of Chinese drama.Throughout his life, Gu Zhongyi, as a dramatist, wrote and translated many plays and participated unswervingly in the important course of the Chinese drama movement. As a translator, Gu Zhongyi attached great importance to introducing foreign plays to our readers.As an educator Gu Zhongyi personally founded the Shanghai Drama Experimental School (the predecessor of the Shanghai Academy of Drama) and trained many talents in the field of drama in China.This study is based on Gu Zhongyi's retranslation of drama. As the largest dramatist in the history of Chinese modern drama, Gu Zhongyi created 22 revised plays from 1925 to 1947, many of which were staged all year round.It has become a classic in the history of Chinese modern drama.Translation modification is a process of integrating foreign drama into Chinese native country based on the needs of our own people. How the translator conveys the social and cultural significance through the translation of the revised works reflects the translator's thoughts and vision.Based on Gu Zhongyi's education, teaching and drama activities in his life, this paper probes into the relationship between his translation practice and his specific drama activities, so as to understand more comprehensively the original intention, purpose and significance of the translation modification.Secondly, Gu Zhongyi, as a dramatist and educator, took the initiative to express his thoughts of social education through the translation of drama.In the two most important periods of the development of Chinese modern dramas, the May 4th Movement and the War of Resistance against Japan, Gu Zhongyi expressed his concern for social problems through the translation of different plays, hoping to play the role of social education in the drama.In order to promote the progress of the people, stimulate patriotism and love for the people, cultivate noble ideas and sentiments, so as to reform and improve the society.For example, the retranslation of "the beginning of Man", through the protagonist Chamberlain's fall from an upright elementary school teacher in the world of money, expresses the playwright's satire and criticism of the money society, in the context of the War of Resistance against Japan.In the context of the added War of Resistance, the meaning of "stingy" has been purposefully changed, and through "covetous people", it refers to the selfishness involved in the national disaster.An egoist who only seeks the self-preservation of the "ego" and ignores the national distress; the retranslation of "Melo Xiang", under the background of the flourishing "May 4th" social problem drama, has aroused the regret and lamentation of the audience with the image of a "fallen Nora" actress.With her tragic love tragedy, the audience discussed the fate of women.Finally, the essence of the translation of drama is for stage performance.In the process of translation, Gu Zhongyi has made important consideration from three aspects: "language" and "stage action" and "setting". Through these three aspects, the Western works, which are very different from Chinese culture, have been incorporated into the Chinese soil.Completed the transformation of heterogeneous culture, won the audience and the national identity of the times.The appendix part of the author according to the existing data analysis and supplement, and collate Gu Zhongyi's revised repertoire list and Gu Zhongyi life summary table, and through the application database,The index of newspapers and periodicals of the Republic of China has collected all kinds of information about Gu Zhongyi's drama practice activities and the texts of his operas, sorted out the situation of the operas performed from 1937 to 1945, and made a certain supplement to the existing studies.
【學(xué)位授予單位】：北京外國(guó)語大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：H059;I046

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6 徐s，

本文編號(hào)：1741745