莎士比亞在中國

內(nèi)容概要

《莎士比亞在中國》對莎士比亞進行了研究。Dr. Yanna Sun has undertaken the challenging task to document the culturaland literary exchange between Chinese artists, translators and theatredirectors on the one hand, and English-speaking Shakespearean scholars ofthe West on the other. Thus her book embarks on an important but hithertorather marginalized topic. She does this with an unusual commitment toscholarly learning, going beyond Zhang Xiaoyang's study Shakespeare in China

作者簡介

孫艷娜，1971年生，河南鄭州人。鄭州輕工業(yè)學(xué)院外語系校聘副教授。先后獲河南大學(xué)文學(xué)學(xué)士學(xué)位，德累斯頓工業(yè)大學(xué)文學(xué)碩士學(xué)位和文學(xué)博士學(xué)位。研究方向為莎士比亞在中國、英美文學(xué)。歸國兩年先后在國內(nèi)外期刊發(fā)表專業(yè)論文數(shù)篇，完成河南省教育廳人文社科課題一項，河南省哲學(xué)社會科學(xué)規(guī)劃項目正在研究之中。

書籍目錄

PrefaceTextual NotesIntroductionChapter 1 The History of China's Reception of Shakespeare1.1 Initial Phasefrom the Mid-19th Century to the Turn of the 20th Century）1.2 Transitional Phasefrom 1903 to 1920）1.3 Real Beginnings of Chinese Shakespearefrom 1921 to 1949）1.4 Dawning of Chinese Shakespearean Criticism in the 1950s）1.5 A Halt to Shakespearean Studiesduring the Cultural Revolution of 1966 to 1976）1.6 Resuscitation of Shakespearean Studies after the Cultural Revolution）1.7 The Flowering of Shakespearean Studiesfrom the 1980s to the End of the 20th Century）1.8 A Promising Future of Chinese Shakespearethe 21st Century）Chapter 2 Similarities between Shakespearean and Traditional Chinese Theatre2.1 Script2.1.1 Source2.1.2 Structure2.1.3 Imperial Theme2.2 Stage2.2.1 Verbal Image2.2.2 Supernatural Elements2.2.3 Use of Aside or Soliloquy2.2.4 Free Deployment of Time and SpaceChapter 3 Shakespeare,an Translations in China3.1 Difficulties in Translating Shakespeare3.1.1 Language Divergences3.1.2 Cultural Differences3.2 Methods of Rendering Shakespeare3.2.1 Chinese Translation Theory3.2.2 Translating Methods3.3 Literary Forms in Translating Shakespeare3.3.1 Fiction Form3.3.2 Prose Form3.3.3 Verse Form3.4 Rendering Complete Plays of Shakespeare ！3.4.1 Cao WeifengChapter 4 Shakespearean Criticism in ChinaChapter 5 Performing Shakespeare on theChapter 6 Chinese Productions of ShakespeareConclusionBibliographyGlossaryAcknowledgements

章節(jié)摘錄

版權(quán)頁：插圖：In Lin's opinion, these translationcriteria stand for three responsibilities of the translator:fidelity/faithfulness emphasizes the translator's responsibilityto the original author, mellifluence/readability requires thetranslator's fluency in Chinese, his/her responsibility for his//her target reader, aesthetic quality/refinement is an artisticresponsibility in terms of art.With the development of translation studies in China, theintroduction of Western translation theories in particular, YanFu's three-character translation criteria have suffered fromsevere criticism: "Yan Fu has apparently done little to deservethe conspicuous, almost overblown, position he has beengranted in the history of translation theory."~ Sometranslation critics condemned its vagueness and called forconcrete theories through the studies of Western linguistics."The result is that the content of these three traditional criteriahas been greatly enriched, especially by the effect equivalencetheory, which in a broad sense means that the target languageshould be equivalent to the source language from a semantic,pragmatic, and stylistic point of view."@ For example, thelinguistic approach to translation studies has become popular inthe field of translation, as shown in Luo Xuanmin's "LinguisticContributions to the Development of Translation Studies.

媒體關(guān)注與評論

Dr. Sun has made a successful effort to utilize Chinese as well as German andEnglish primary materials. This is evident also from her careful treatment ofthese materials in the notes, from the bilingal bibliography, the inclusionof Chinese characters in the footnotes, and a helpful glossary.Thus, Dr. Sun's study is a valuable contribution to Shakespeare criticism,and it is hoped that she will help Chinese students to come to terms withthe plays of the eminent English playwright.　　——Prof. Dr. Uwe BSker

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