红楼梦中人物姓名的翻译_毕业论文(编辑修改稿)

红楼梦中人物姓名的翻译_毕业论文(编辑修改稿)内容摘要：

cabularies about some special kinds of creatures, colors, and objects which have some meanings under given conditions. We have an example from the fifth chapter. The original : 水溶见他语言清楚 ,谈吐有致 ,一面又向贾政道 :“令郎真乃龙驹凤雏”。 The Yang’s : (The prince)turned to observe to JiaZheng,”Your son is truly a dragon’s colt or young phoenix?” 4 Hawkes’ : the prince observed to Jia Zheng that “the young phoenix was worthy of his sire.” Both translations relate to these two kinds of animals: 龙 and 凤 . They both have rich cultural connotations. The animal dragon in English means the devil incarnate, but in Chinese the animal symbols auspicious. And phoenix, means rebirth in English, at the same time means auspicious in Chinese, too. So Hawkes remained the meaning of phoenix and left the dragon out. And as the offspring of 龙 , the Yangs wanted to introduce the Chinese traditional culture to the English spoken countries. So they translated into “a dragon’s colt or young phoenix”. We can find that the translations were taking different sense of culture. Religion, as the representative of a basic standard of moral and behavior in one culture, occupies the central position of the culture. It passes through the whole life of society, the art, even the traditional custom. And language brands its particular marks deeply on the culture during the process. Buddhism has a great influence with the Chinese culture. Many of the Chinese vocabularies which have relations to Buddhism are well used by people. We have some examples in the work from the first chapter: The original: 世人都晓神仙好。 The Yangs’: All men long to be immortals. Hawkes’: Men all know that salvation should be won. “神仙 ” is a notion from Taoism. Referring to Taoism, everyone wants to have a chance to be immortals after death. But in the western countries, many people believe in God. And the Bible teaches people that everyone is guilty in this world. They should expiate their guilt continuously and beg the God for their salvations. So from the translation above, we can find that the Yangs’ reflected the culture both in Buddhism and Taoism, but the translation of Hawkes had an obvious value of Christian religion. III. The Introduction of Domestication and Foreignization Domestication and foreignization are the two terminologies of translation studies. They were first raised by Lawrence Venuti in the work of The Translator39。 s Invisibility: a 5 History of Translation in 1995. But they were from an article written by a Germanic scholar, Schleiermacher, in 1813. Schleiermacher emphasized the indivisible relationship between translation and prehension. He pointed that there were two states of translation: one was getting the readers close to the author。 the other was making the author closed to the readers. (Lawrence Venuti, 20xx:92) Then, if readers are close to the author, they will have chances to feel the exotic atmosphere. Domestication is a method which can be accepted by the readers more easily, while foreignization is more faithful to the original translation. The most important feature of domestication is using the real English to translate the original. So the differences between the two languages bee invisible. On the other hand, foreignization remains the differences. We cannot only focus on how to change one language to the other, but to find the deep cultural connotations under the surface of the languages when we are doing translation. Translators should have known the culture of the language we translate, and have a thorough understanding of difference between the languages and handle the two methods of translation skillfully and flexibly. As the two translation strategies, domestication and foreignization are not two extremes, actually, foreignization or domestication doesn’t exist in absolute sense. In practice translator should be in accord with specific characteristics of different language, the purpose of language, the source language and target language features, such as proper use of the two national cultural policies. An example from the work Gone with the Wind, Mr. 傅东华 translates the name Scarlett O’ Hara as 郝思嘉 . It is superior than other translations like 斯嘉丽 or 斯卡里特 . The name has both the cultures from west and east. It seems both from Chinese and English. 贾雨村 and 甄士隐 , are examples from The Story of the Stone. The two names sound like “ 假语存 , 真事隐 ” in Chinese. The meanings of them are “remain the lies and hide the truths “. The Yangs translated them with the Webster phoic alphabets as “ChenShih 6 yin and “ ChiaYu tsun”. And Hawkes’ were “JiaYu cun” and “ZhenShi yin”. IV. An Analysis of the Names in the Story of the Stone . Artistic Beauty in Sound Chinese names are always beautiful in sound. We want the name pleasant to ears and readable, also, easy to remember. For example, the twelve actresses who perform opera in family 贾 . Their names are meaningless, which have two characters, one for sound, and the other for their jobs. Such as 芳官 , 龄官 , 艾官 , 宝官 , 豆官 , 葵官 , 蕊官 , 文官 , 营官 , 玉官 , 药官 , 藕官 . . Artistic Beauty in Form Chinese names are always beautiful in form. In China, families usually have books named genealogies, which are about the family trees. The genealogy regulates the names with the order of generation. The same generation has the same symbol. It can be a word or just a part of the word. It is a mon naming way for the one family members, in other words, the names of the same generation in the same family may look alike. As examples in the Story of the Stone, the symbol of the hero’s generation is “玉 ” . So, the name of the hero is 贾宝玉 , and his brothers are called 贾环 , 贾琼 , 贾瑞 , 贾琏 , 贾璎 , and so on. Another example in this book is the next generation of the hero. Their symbol is “草 ” . So, their names are 贾蓉 , 贾芹 , 贾芳 , 贾芬 , 贾范 , 贾萍 , 贾蔷 , etc.。