摘要
朱生豪和曹禺分别以文学和舞台为取向翻译了莎士比亚的《罗密欧与朱丽叶》一剧。两者在人名、称谓语、旁白、委婉语和禁忌语,乃至押韵等的翻译决策上表现了明显的差异。这是两人翻译时代背景和译者主体意识差异的结果,也是戏剧文本的综合性的体现。在多元媒体时代,两种翻译策略和实践都具有很高价值。
Romeo and Juliet was translated by Zhu Shenghao and Cao Yu in pure-literature-oriented and stage-oriented ways respectively. The two versions differ in names, addressing, aside, euphemism, taboo, as well as rhyming translation, which resulted from two translatorrs reaction to the historical background and their personal awareness, as well as the complicate nature of drama text. In a multi-media era, the two both are of high value to drama translation.
出处
《广东教育学院学报》
2008年第1期85-90,共6页
Journal of Guangdong Education Institute
关键词
文学取向
舞台取向
朱生豪
曹禺
译者主体意识
literature-orientation
stage-orientation
Zhu Shenghao
Cao Yu
personal awareness
