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|Title:||新加坡剧场多语现象的翻译 ：以郭宝崑的戏剧创作为例 = The translation of heterolingualism in Singapore theatres : a Kuo Pao Kun case study||Authors:||王韻媚 Ong, Yun Mei||Keywords:||DRNTU::Humanities||Issue Date:||2018||Abstract:||新加坡是个多民族、多语言的国家，特殊的历史背景和种种的社会因素促使了新加坡人的语言应用状况产生了变异的现象。在这一个多语、多元种族的社会语境里，以双语或多语的方式写作是件非常普遍的事，而在翻译这些作品时常涉及语言和意识形态的课题。反映新加坡本地文化和社会环境的剧场为了能更真实地在剧场中重构出本地的社会语境，进而将新加坡的多语现象介入了本地剧场，其中在剧场中注入了多语现象的剧作家就包括了郭宝崑。郭宝崑（1939-2002 年）是被誉为新加坡国宝级的作家，也是新加坡少有的双语、多语戏剧工作者，曾以英语、华语、马来语创作，进行戏剧剧本翻译，致力打破新加坡的语言及文化隔阂。自 1984 年所创作的第一部英文剧《棺材太大洞太小》后译写增添了华文版的译作，他相继而来的创作都会延续先以英语或华语创作后进行翻译或是以英语为主，写出多元语言戏剧。郭宝崑在剧作以语码转换重构新加坡本地化的多语社会语境，但是在由英-中或中-英的翻译过程中，郭宝崑采取了不同的翻译策略，重构了不同的社会语境。倡导“文化转向”的译者提出译作可受特定时期的社会文化与语境的影响而采用不同的翻译策略，因此郭宝崑华-英和英-华的个别翻译方向（translation direction）多语现象翻译上的差异极具象征性意义。本文将通过案例分析，以郭宝崑不同时代的四部剧作《棺材太大洞太小》、《单日不可停车》、《傻姑娘与怪老树》及《老九》的中英剧作为研究对象，结合布尔迪厄（Pierre Bourdieu）的实践语言观，对比分析英-华和华-英个别翻译方向在语码转换上的 差异。 Singapore is a multicultural and multilingual country; its unique historical background and societal factors has resulted in a complex evolution of the languages used. In a multicultural and multilingual society, it is a common phenomenon to see writings that incorporates the use of 2 or more languages, and its translations are thus often the subjected to the influence of language ideological factors. In order to re-create an accurate portrayal of Singapore’s sociocultural environment in the local theatres, moves have been made by playwrights to introduce the use of heterolingualism into local plays, one of whom is Kuo Pao Kun. Kuo Pao Kun (1939 - 2002) is considered as one of the most significant dramatists in Singapore and a pioneer of Singapore theatre. He was one of the few local playwrights who produced bilingual and multilingual plays. He had written plays in English, Chinese and Malay, which were subsequently translated, in bid to overcome the dividing boundaries across the different languages and cultures in Singapore. Since his first English play “The Coffin is Too Big for the Hole” in 1984, which he had then translated into Chinese, his subsequent plays were first written in either English or Chinese which were then translated, or multilingual plays with English as the main language medium. Kuo Pao Kun employed the use of code-switching to re-construct Singapore’s heterolingual societal context in his plays. It is observed that different translation strategies were used by Kuo Pao Kun, in which heterolingualism is negotiated between the source and target text, in the Chinese-English and English-Chinese translations of his plays. Advocates of the cultural turn proposed that translators function under a specific culture and time, thereby influencing their translations. Therefore, the different translational strategies employed in the reconstruction of heterolingualism across the 2 different translation directions are closely related to Singapore’s historical and sociocultural backgrounds. On this account, this study seeks to examine the underlying sociocultural factors influencing the different translational strategies employed by Kuo Pao Kun across the 2 translational directions through the application of Bourdieu’s Language Practice Theory. The study will be based on 4 plays, spanning across the decade, written and translated by Kuo Pao Kun – “The Coffin is Too Big for the Hole”, “No Parking on Odd Days”, “The Silly Little Girl and The Funny Old Tree” and “The Ninth Born”.||URI:||http://hdl.handle.net/10356/73404||Rights:||Nanyang Technological University||Fulltext Permission:||restricted||Fulltext Availability:||With Fulltext|
|Appears in Collections:||HSS Student Reports (FYP/IA/PA/PI)|
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