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完整後設資料紀錄
DC 欄位 | 值 | 語言 |
---|---|---|
dc.contributor.advisor | 石岱崙(Darryl Sterk) | |
dc.contributor.author | Wan-Hui Wang | en |
dc.contributor.author | 王婉卉 | zh_TW |
dc.date.accessioned | 2021-06-17T02:28:46Z | - |
dc.date.available | 2020-08-24 | |
dc.date.copyright | 2017-08-24 | |
dc.date.issued | 2017 | |
dc.date.submitted | 2017-08-18 | |
dc.identifier.citation | Primary Works
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Youtube, uploaded by twfoxmovies, 25 Jan. 2015, www.youtube.com/watch?v=1HzsZ-eZ4NI&t=51s. Kovář, Jan. “Selected Issues in Translation of English-written Heroic Fantasy into Czech: An Empirical Study.” MA thesis, Masaryk University, 2010. is.muni.cz/th/109178/ff_m/_FINAL.txt. Accessed 19 Apr. 2016. Lai Kuofeng 賴國峰. “Taiwan zhongyi qihuan xiaoshuo chuban fazhan zhi yanjiu” 台灣中譯奇幻小說出版發展之研究 [A Study on the Development of Fantasy Publishing in Taiwan]. MA thesis, Shih Hsin University, 2004. Le Guin, Ursula K. Dancing at the Edge of the World: Thoughts on Words, Women, Places. Grove Press, 1989. ---. Lao Tzu: Tao Te Ching: A Book About the Way and the Power of the Way. Shambhala, 1998. ---. Steering the Craft: A 21ST-Century Guide to Sailing the Sea of Story. Houghton Mifflin Harcourt, 2015. ---. The Language of the Night: Essays on Fantasy and Science Fiction. HarperPerennial, 1993. ---. The Wave in the Mind: Talks and Essays on the Writer, the Reader, and the Imagination. Shambhala, 2004. Leech, Geoffrey, and Short Mick. Style in Fiction. Longman, 1981. Li Hongman. “Fantasy in Translation: A Study of Two Chinese Versions of The Lord of the Rings.” Cross-Cultural Communication, vol. 6, no. 4, 2010, pp. 20-7. Li Sihjing 李思靜. “Xifang qihuan yu dongfang daojia de xiangyu—shenshi ‘dihai chuanshuo’ zhong de daojia sixiang” 西方奇幻與東方道家的相遇——審視《地海傳說》中的道家思想 [The Encounter of Western Fantasy and Eastern Taoism——A Consideration on the Taoism in The Earthsea Cycle]. MA thesis, National Taitung University, 2008. Li Xiuying. “Writing Sima Qian’s Rhetorical Style into English—On Burton Watson’s Translation of Shi Ji (Records of the Grand Historian).” Intercultural Communication Studies, vol. XVII, no. 2 2008, pp. 275-86. Li Yunhan, and Zhang Weigeng 黎運漢 張維耿. Xiandai hanyu xiuci xue 現代漢語修辭學 [Modern Chinese Rhetoric]. Shangwu yinshu guan, 1986. Liang Wenchun. “Constructing the Role of Human Agents in Translation Studies: Translation of Fantasy Fiction in Taiwan from a Bourdieusian Perspective.” Dissertation, University of Newcastle, 2010. Lin Peijung 林佩蓉. “Taiwan yu dalu ‘halipote’ xilie yiben fanyi celue zhi bijiao” 台灣與大陸《哈利波特》系列譯本翻譯策略之比較 [Varying Strategies Used in the Taiwan and Mainland Chinese Translations of the Harry Potter Series Novels]. MA thesis, National Taiwan Normal University, 2004. Lindow, Sandra J. Dancing the Tao: Le Guin and Moral Development. Cambridge Scholars Publishing, 2012. Ma Lihsuan 馬立軒. “Taiwan qihuan xiaoshuo zhi tanyuan yu fazhan yanjiu” 台灣奇幻小說之探源與發展研究 [A Study on the Origin and Development of Taiwan Fantasy Novel]. MA thesis, Chinese Culture University, 2012. McCaffery, Larry, and Gregory, Sinda. “An Interview with Ursula Le Guin.” Freedman, pp. 26-46. “Movie Segment from Kingsman: The Secret Service: Bar Fight.” [【金牌特務】 電影片段:酒吧搏擊篇]. Youtube, uploaded by twfoxmovies, 25 Jan. 2015, www.youtube.com/watch?v=1HzsZ-eZ4NI&t=51s. “Neil Gaiman presents lifetime achievement award to Ursula K. Le Guin at 2014 National Book Awards.” Youtube, uploaded by NationalBook, 23 Nov. 2014, youtu.be/5PI1xwT2-74?t=3m4s. Newell, Daniel. “The ‘Mother Tongue’ in a World of Sons Language and Power in The Earthsea Cycle.” MA thesis, Liberty University, 2010. Newmark, Peter. A Textbook of Translation. Prentice-Hall International, 1988. Ng Yinling. “A Systemic Approach to Translating Style: A Comparative Study of Four Chinese Translations of Hemingway’s The Old Man and the Sea.” Dissertation, University College London, 2009. Nida, Eugene A. Toward a Science of Translating: With Special Reference to Principles and Procedures Involved in Bible Translating. E. J. Brill, 1964. Nida, Eugene A., and Taber, Charles R. The Theory and Practice of Translation. E. J. Brill, 1982. “Proper name.” Oxford English Dictionary Online, www.oed.com/view/Entry/152660?redirectedFrom=proper+name#eid90452077. Accessed 13 June 2017. “Rhetoric.” Oxford English Dictionary Online, www.oed.com/view/Entry/165178?rskey=vudLH6&result=1#eid. Accessed 13 June 2017. Schult, Stefanie. Subcreation: Fictional-World Construction from J.R.R. Tolkien to Terry Pratchett and Tad Williams. Dissertation, Universität Greifswald, 2017. Shih Hsingi 施行一. “Bingyuhuozhige disanbu: jianrenfengbao jianfan yiben bijiao yanjiu” 《冰與火之歌第三部:劍刃風暴》簡繁譯本比較研究 [A Study of Simplified and Traditional Chinese Translation of A Storm of Swords: A Song of Ice and Fire, Book 3]. MA thesis, National Taiwan Normal University, 2016. Shih Yuchung, translator. The Literary Mind and the Carving of Dragons: A Study of Thought and Pattern in Chinese Literature. By Liu Xie, Chinese UP, 1983. Slusser, George, E. “The Earthsea Trilogy.” The Farthest Shores of Ursula K. Le Guin. Wildside Press, 2006. Su Jungshun 蘇榮順. “Qihuan xiaoshuo fanyi celue yu fenxi—yi fengke ‘moshuixin’ weili” 奇幻小說翻譯策略與分析──以馮克《墨水心》為例 [Translation Strategy and Analysis of Fantasy Novel—Funke’s “Tintenherz” as an Example]. MA thesis, National Kaohsiung First University of Science and Technology, 2015. Tai Haoyi 戴浩一. “Zhongwen gouci yu jufa de gainian jiegou” 中文構詞與句法的概念結構 [Conceptualization in Chinese Grammar]. Huayuwen jiaoxue yanjiu 華語文教學研究, vol. 4, no. 1, 2007, pp. 1-30. Tsai Shufen 蔡淑芬. “Chaoyue mofa de misi: lun 'dihai wushi' xilie zhong de wushu daojia zhexue yu shengtai yishi” 超越魔法的迷思:論《地海巫師》系列中的巫術、道家哲學與生態意識 [Beyond the Myth of Magic: On Witchcraft, Taoism and Ecological Consciousness in Earthsea Cycle]. Donghua renwen xuebao 東華人文學報, vol. 6, 2004, pp. 223-54. Van der Peet, David. “The Lord of the Rings: Critique of the Two Chinese Translations.” MA thesis, Fu Jen Catholic University, 2000. Venuti, Lawrence. The Translator’s Invisibility: A History of Translation. Routledge, 1995. Vermes, A. P. “Proper Names in Translation: An Explanatory Attempt.” Across Languages and Cultures, vol. 4, no. 1, May 2003, pp. 89-108. Wang Bi 王弼, annotator. Laozi 老子. By Lao Tzu 老子, Jinfeng chubanshe, 1987. Wendland, Ernst R. “Receptor Language Style and Bible Translation. III: Training Translators about Style.” The Bible Translator, vol. 33, no. 1, Jan. 1982, pp.115-27. White, Donna R. Dancing with Dragons: Ursula K. Le Guin and the Critics. Camden House, 1999. Wood, Susan. “Discovering Worlds: The Fiction of Ursula K. Le Guin.” Voices for the Future: Essays on Major Science Fiction Writers. Edited by Thomas D. Clareson, vol. 2, Bowling Green U Popular P, 1979. Wu Liquan 吳禮權. Zhongguo xiuci zhexue shi 中國修辭哲學史 [A History of Chinese Rhetoric Philosophy]. Taiwan shangwu, 1995. Yang Wenfeng. “Factors Influencing Domestication or Foreignization on the Macro and Micro Levels.” Theory and Practice in Language Studies, vol. 2, no. 12, 2012, pp. 2674-2679. Zhang Lizhai 張立齋. Wenxindiaolong zhuding 文心雕龍註訂 [A Revised and Annotated Version of The Literary Mind and the Carving of Dragons]. By Liu Xie 劉勰, Zhengzhong shuju, 1967. Zhou Yuancheng周远成. “Hexie zhihui yu shihua zheli de meimiao ronghui—‘daodejing’ yongjiubushuai de yishu meili yuanquan” 和谐智慧与诗化哲理的美妙融汇──《道德经》永久不衰的艺术魅力源泉 [The Beautiful Integration of Harmonious Wisdom and Poetic Philosophy—The Everlasting Artistic Attraction of Tao Te Ching]. Chuanshan xuekan 船山学刊, vol. 4, 2007, pp. 76-80. | |
dc.identifier.uri | http://tdr.lib.ntu.edu.tw/jspui/handle/123456789/68644 | - |
dc.description.abstract | 《地海傳說》系列不僅奠定了美國科奇幻大師娥蘇拉‧勒瑰恩在西方奇幻文學界的地位,更被譽為是西方奇幻經典文學之一。勒瑰恩以細膩優美的筆觸,娓娓道來一段段探索心靈的冒險旅程,並在傳統西方奇幻的背景架構下,融入道家思想,獨具匠心,因而雖然此系列前三部曲被定位為青少年小說,書中卻不乏富含哲理的議題,更遑論勒瑰恩在沉思近二十年後所推出的後三部曲,亦具有深度。考量到文體類型以及作者淺顯易懂的用字遣詞、富有韻律的章句結構,中譯本採用了乍看之下帶有些許文言風格的手法實為獨特,加上前後三部曲分別交由兩位譯者執筆,卻似乎呈現類似的風格,相當值得從翻譯的角度深入剖析。
本論文將聚焦在《地海傳說》系列的風格,探討兩位譯者翻譯策略的異同之處,同時找出仿古的證據,並與原文相對照,分析仿古是否有其必要或是否在文中顯得突兀。分析方式將從定義風格及構成風格的要素著手,再依據語言、語法、修辭三大項,將地海系列中的語料分成五類:用字遣詞;包含人名、地名、專有名詞的專有名稱;可劃分為對話與敘述的行文節奏;慣用說法及諺語;詩歌。接著,將以中英對照的方式,舉出上述各類的譯例進行探討。最後,藉由統整譯者運用的翻譯手法,歸納出整體風格。 透過大量的譯例分析,儘管在較細部的手法上仍有所差異,但兩位譯者確實都刻意採用歸化的翻譯策略,時不時選用偏向文言或少見的詞語,運用大量四字、短句、排比、反覆出現的韻律,符合中文寫作常見的意合,同時亦帶有明顯的仿古痕跡。然而,相較於勒瑰恩在原文中呈現的簡潔精鍊風格,中譯本雖然試圖捕捉精簡的風格,文字上卻多了層潤飾,少了樸實的風味。除此之外,譯者的仿古策略雖然不少,但手法未必出色,甚至在不到位的情況下,會出現語意不清或翻譯腔的問題,因此,回歸較淺白直接的文學風格或許是一種可行的解決辦法。 | zh_TW |
dc.description.abstract | The Earthsea Cycle not only raises Ursula K. Le Guin’s status to one of the masters in Western fantasy literature, but is also praised as one of the fantasy classics. Le Guin tells great adventures of the physical and the spiritual journey of the characters with her elegant writing style; in particular, she ingeniously integrates Taoist philosophy in a setting of traditional Western fantasy. Therefore, while the first trilogy is considered to be young adult fictions, the novels are full of philosophical issues, not to mention the second trilogy released after nearly two decades of contemplation and maturity. Taking the genre, simple diction and rhythmic structure into consideration, it is indeed unique that the traditional Chinese translations present a style carrying several traces of archaism. In addition, the first and last three books are translated by two different translators, yet both styles seem to be similar to each other, which deserves critical analysis from the perspective of translation.
The present thesis will focus on the style of The Earthsea Cycle, investigating what the translation strategies of the two translators have in common or differ from each other. The evidence of archaism will be another focus while whether archaism is necessary or proves to be abrupt in the translation will also be explored. The analysis will begin with the definition and features of style. Based on the three main categories of linguistic, grammatical and rhetoric, the texts in the Cycle are devided into five subcategories, including diction, proper names (personal names, place names and proper nouns), rhythm (dialogue and description), idioms and sayings, and songs and poetry. Next, examples will be compared and analyzed under each subcategory. Finally, the overall translators’ style will be revealed with a summary of the strategies. With the comprehensive analysis, the two translators do choose to adopt an overall domesticated style despite some minute differences in certain strategies. Both select archaic or uncommon diction, often using four-character length, short phrases, parallelisms and repeated structure, conforming to the common paratactic feature of Chinese writing with an apparent trace of archaism. However, compared with the concise and simple style in the original, the translators seem to achieve the conciseness but with extra embellishment, lacking the simplicity Le Guin displays in the Cycle. Additionally, although the archaism can often been spotted in the translation, the unskillfulness might result in ambiguity and translationese. Thus, one of the possible solutions could be resorting to a plainer and less indirect style. | en |
dc.description.provenance | Made available in DSpace on 2021-06-17T02:28:46Z (GMT). No. of bitstreams: 1 ntu-106-R03147006-1.pdf: 2017294 bytes, checksum: 489a6cd9761a3e3a995d27d652b7aad6 (MD5) Previous issue date: 2017 | en |
dc.description.tableofcontents | Thesis Approval Sheet i
Acknowledgement ii Chinese Abstract iii Abstract iv Table of Content v Chapter 1 Introduction 1 1.1 The Motive 1 1.2 The Author: Ursula K. Le Guin 3 1.3 The Story: The Earthsea Cycle 6 1.3.1 The Theme 11 1.4 The Translators 15 1.5 The Outline 16 Chapter 2 Literature Review 18 2.1 Translation Strategy 18 2.2 Comparative Study 21 2.3 Fantasy Translation 23 2.3.1 Background 23 2.3.2 Research 25 Chapter 3 Methodology 28 3.1 The Source 28 3.2 The Style 28 3.2.1 Definition and Features 28 3.2.2 Le Guin’s Writing and Style 32 3.2.3 Chinese Style and Rhetoric 38 3.2.4 Translator’s Style 41 3.3 The Process 44 Chapter 4 Analysis 49 4.1 Diction 49 4.1.1 Description 49 4.1.2 Dialogue 53 4.2 Proper Names 60 4.2.1 Personal Name 60 4.2.2 Place Name 68 4.2.3 Proper Noun 73 4.3 Rhythm 76 4.3.1 Dialogue 77 4.3.2 Description 84 4.4 Idioms and Sayings 108 4.5 Songs and Poems 112 Chapter 5 Conclusion 128 5.1 The Summary 128 5.2 The Result 130 5.3 The Limitation 132 Bibliography 136 Appendix 146 Appendix 1 An Expanded Checklist of Linguistic and Stylistic Categories (Leech and Short 75-80) 146 Appendix 2 Personal Name: Literal Translation 148 Appendix 3 Personal Name: Transliteration with Surname 150 Appendix 4 Personal Name: Mixture Translation Type 1 151 Appendix 5 Personal Name: Mixture Translation Type 2 151 Appendix 6 Personal Name: Mixture Translation Type 3 152 Appendix 7 Personal Name: Epithet 152 Appendix 8 Personal Name: Title related to Magery 154 Appendix 9 Place Name: on Roke 157 Appendix 10 Place Name: Tombs of Atuan 157 Appendix 11 Proper Name: Animal 159 Appendix 12 Proper Name: Magic and Spell 159 Appendix 13 Proper Name: Rune 164 Appendix 14 Idioms and Sayings 165 Appendix 15 Songs and Poems 167 Appendix 16 Translator’s Note by Tsai (The Tombs of Atuan 254-6) 172 Table 1 A Checklist of Linguistic and Stylistic Categories (Leech and Short 75-80) 31 | |
dc.language.iso | en | |
dc.title | 當西方奇幻遇上東方思想:《地海傳說》系列中譯本之翻譯策略與風格評析 | zh_TW |
dc.title | When Western Fantasy Meets Eastern Philosophy: An Analysis and Comparison of the Translation Strategies and Style of The Earthsea Cycle | en |
dc.type | Thesis | |
dc.date.schoolyear | 105-2 | |
dc.description.degree | 碩士 | |
dc.contributor.oralexamcommittee | 陳榮彬(Rong-Bin Chen),賴慈芸(Tzu-Yun Lai) | |
dc.subject.keyword | 娥蘇拉‧勒瑰恩,地海傳說,奇幻文學,翻譯策略,風格,仿古, | zh_TW |
dc.subject.keyword | Ursula K. Le Guin,the Earthsea Cycle,fantasy literature,translation strategy,style,archaism, | en |
dc.relation.page | 173 | |
dc.identifier.doi | 10.6342/NTU201703782 | |
dc.rights.note | 有償授權 | |
dc.date.accepted | 2017-08-18 | |
dc.contributor.author-college | 文學院 | zh_TW |
dc.contributor.author-dept | 翻譯碩士學位學程 | zh_TW |
顯示於系所單位: | 翻譯碩士學位學程 |
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