An Analysis of the Translations of The Nightingale and the Rose from the Perspective of Skopos Theor.docVIP

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2016-12-13 发布于北京
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An Analysis of the Translations of The Nightingale and the Rose from the Perspective of Skopos Theor.doc

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An Analysis of the Translations of The Nightingale and the Rose from the Perspective of Skopos Theor 　　【Abstract】Issue of free translation and literal translation has long been focus of dispute among translators. In this paper， I want to study on how the translator can produce translation that faithful to the source text， how the translator can exercise their freedom in the constraints of faithful rule. The main theoretical model adopted in this paper is Vermeer’s Skopos theory. Oscar Wildes The Nightingale and the Rose and its two Chinese versions will serve as case study data. 　　【Key words】The Nightingale and the Rose； Oscar Wilde； Ba Jin； Su， Fuzhong Zhang Min； Skopos Theory 　　1. Vermeer’s Skopos theory 　　“Skopos is a Greek word for purpose， and Skopostheorie is called by Vermeer a theory of purposeful action”（Nord 1997a： 12）. In Skopos theory， it is not the source text， but the skopos of translation which determines the overall translation action. 　　2. Oscar Wildes The Nightingale and the Rose and its two Chinese versions 　　Oscar Wilde， born in 1854， stands out as dramatist， novelist， and poet. He became known for his involvement in the Aesthetic movement. The Nightingale and the Rose is a moving story about self-sacrifice and love. 　　Wildes fairy tales were translated into Chinese by Ba Jin in 1949， Su Fuzhou Zhang Min in 1999. Ba praised the literary charm of the original work and wants to introduce it into China， but the target reader of his version is mainly adults. Su and Zhang’s translation is children-oriented， their objective is to re-produce the beauty in the source text and to amuse the target reader. 　　3. Analysis of The Nightingale and Rose 　　1） But there is no red rose in my garden， so I shall sit lonely， and she will pass me by. （Wilde 2009： 26， 28）　　可是我的园子里并没有红玫瑰，我就不得不寂寞地枯坐在那儿，她会走过我面前不理我。（Ba 2007： 15）　　可是我的花园里没有红玫瑰，那我只好孤零零坐在那里，眼睁睁看她从我身边走过去。（Su Zhang 2009： 29）　　Throughout the two translations， Ba tends to use more literary， sta