本文以《红楼梦》回目翻译为例，描述中西方小说叙事传统下回目功能对于作者和译者都同样存在的作用力。梳理前人研究《红楼梦》及其翻译的成果，提出《红楼梦》回目翻译研究的意义；在对原文回目特点略作整理的基础上，共收集十种译本，以其中八种英译本和一种德译本为重点展开讨论，举例比较；主要以文本分析为方法，综合参考翻译、语言学、文化研究、叙事学等方面的理论。首先介绍译本以及原著版本的选择问题；概述原著回目和英文译本研究现状以及二者的相对意义；再进行原文回目研究，从章回小说起源与回目的发展谈起，归纳《红楼梦》回目的特点，描述在西方文学传统中难以再现之处；论及章回回目与西方章节标题的差异。在此基础上，论文还从不同角度对原文与译文回目进行比较研究，主要包括内容、形式、语言、叙述功能、艺术效果等方面；之后描述原文回目、原文章回内容、译文回目、译文章回内容之间的错综关系；并研究读者反应；再从文化视角进行论证。最后在结论中归纳回目的创作与再创作过程中对作者和译者同时起作用的因素，并总结翻译难度与译文得失。 / This thesis studies English translations of the chapter titles of the classical Chinese Zhanghui xiaoshuo (chapter-novel) Hong lou meng, also known as Dream of the Red Chamber or The Story of the Stone in the English-speaking world. It describes the changes made and effects achieved in different versions by different translators. The aim is to try to explain how the narrative and aesthetic functions of chapter titles influence both the processes of the author(s)’ writing and the translators’ rewriting, within the traditions of Chinese and Western fiction. The research covers nine versions in English and one version in German. The approach is eclectic: theories or concepts in translation, narratology, linguistic, etc. will be utilized whenever. Firstly, an introduction relevant to the selection of versions of the original and its translations will be given. Following the introduction is a review of previous studies on Hong lou meng, on its chapter titles, and the English translations of both the work itself and the chapter titles. The thesis will then study the origins and development of chapter titles in classical Chinese novels and in Western literature, find out the differences, and see if they share similar features or functions. Then it will go on to make comparison between the original chapter titles and their translations on the micro level, and discuss the narrative functions and aesthetic effects achieved by the translations, by studying changes made in the contents, form, and language of the chapter titles. In the thesis, the intricate relationships between chapter titles and chapter contents, both in the original work and in the translation will be described. After that, the thesis will focus on reader response. The translations of chapter titles will also be analyzed from cultural perspectives by examining culturally-loaded words in the original chapter titles and identifying Western culture embodied in their versions. Finally, the difficulties of translating the chapter titles and the merits and demerits of the translations will be summed up. / Detailed summary in vernacular field only. / 黄小谊. / "2012年8月". / "2012 nian 8 yue". / Thesis (M.Phil.)--Chinese University of Hong Kong, 2012. / Includes bibliographical references (leaves 213-237). / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstract in Chinese and English. / Huang Xiaoyi. / 摘要 --- p.i / Abstract --- p.ii / 目录 --- p.iii / Chapter 第一章 --- 引言 --- p.1 / Chapter 一． --- 论文范围与研究意义 --- p.1 / Chapter 二． --- 论述结构与研究方法 --- p.2 / Chapter 三. --- 原文版本与参考文本 --- p.4 / Chapter 四． --- 译本简介 --- p.6 / Chapter 第二章 --- 文献综述 --- p.11 / Chapter 一． --- 《红楼梦》原著及回目研究 --- p.11 / Chapter 1． --- “红学与《红楼梦》研究 --- p.11 / Chapter 2． --- 《红楼梦》回目研究 --- p.13 / Chapter 二. --- 《红楼梦》及回目英译研究 --- p.17 / Chapter 1． --- 《红楼梦》翻译及英译研究 --- p.17 / Chapter 2． --- 《红楼梦》回目英译研究 --- p.29 / Chapter 第三章 --- 原文回目研究 --- p.40 / Chapter 一． --- 章回小说与章回回目 --- p.40 / Chapter 1． --- 章回小说的概念 --- p.40 / Chapter 2． --- 章回小说及其回目的发展 --- p.44 / Chapter 二． --- 《红楼梦》回目的功能与效果 --- p.49 / Chapter 1． --- 形式与内容 --- p.49 / Chapter 2． --- 用字组词特点及作用 --- p.50 / Chapter 3． --- 叙述功能 --- p.53 / Chapter 4. --- 审美效果 --- p.55 / Chapter 第四章 --- 章回回目与章节标题 --- p.58 / Chapter 一． --- 西方小说章节标题的起源和发展 --- p.58 / Chapter 二． --- 章回回目与章节标题的差异在翻译中的体现 --- p.70 / Chapter 第五章 --- 原文与译文回目的比较 --- p.74 / Chapter 一． --- 总目的编排与回目形式特征的展示 --- p.74 / Chapter 二． --- 回目译文形式与内容 --- p.77 / Chapter 1． --- 删节内容，简化形式 --- p.77 / Chapter 2． --- 更改内容，保留形式 --- p.81 / Chapter 3． --- 筛选内容，重组形式 --- p.84 / Chapter 4． --- 保留内容，破坏形式 --- p.86 / Chapter 5． --- 内容出发，兼顾形式 --- p.87 / Chapter 三． --- 回目内容与叙述功能 --- p.89 / Chapter 1． --- 提纲挈领--纲领简化 --- p.90 / Chapter 2． --- 综括全章 --- p.91 / Chapter 3． --- 点补情节--重心偏移 --- p.92 / Chapter 4． --- 刻画人物 --- p.93 / Chapter 5． --- 暗示情节--过度预叙 --- p.95 / Chapter 四． --- 译文语言与艺术效果 --- p.98 / Chapter 1． --- 修辞手法 --- p.98 / Chapter 2． --- 常用字词 --- p.103 / Chapter 第六章 --- 回目与章回内容之间的错综关系 --- p.110 / Chapter 一． --- 何谓“错综关系 --- p.110 / Chapter 二． --- 原文回目与章回内容的错综关系 --- p.111 / Chapter 1． --- 回目功能与回目-章回内容关系 --- p.112 / Chapter 2． --- 回目上下句与章回内容的错综关系 --- p.113 / Chapter 3． --- 回目上句与下句之间的关系 --- p.115 / Chapter 4． --- 回目与章回内容的交错关系 --- p.116 / Chapter 5． --- 回目局部与其他章回内容的遥相对应 --- p.117 / Chapter 6． --- 回目局部与章回内容的偏离关系 --- p.118 / Chapter 三． --- 译文回目、原文回目、章回内容之间的错综关系 --- p.119 / Chapter 1． --- 路径一，从原文回目到译文回目 --- p.119 / Chapter 2． --- 路径二，从章回内容到译文回目 --- p.120 / Chapter 3． --- 路径三，从原文章回内容（包括不同章回）到译文章回内容，再由译文章回内容到译文回目 --- p.121 / Chapter 4． --- 路径四，从原文回目到译文回目上句，从章回内容到译文回目下句（或反之） --- p.123 / Chapter 四． --- 双重错综的效果：译文的“纠错功能 --- p.125 / Chapter 五． --- 关系错综的内因 --- p.128 / Chapter 第七章 --- 读者反应研究 --- p.129 / Chapter 一． --- 作者与读者：作者的读者意识 --- p.129 / Chapter 二． --- 读者与回目：读者意识的载体 --- p.131 / Chapter 三． --- 读者与译者：译者的读者意识 --- p.133 / Chapter 四． --- 接受的接力：译者的双重身份 --- p.138 / Chapter 五. --- 原著读者与译著读者 --- p.141 / Chapter 1． --- 回目功能与读者预期 --- p.143 / Chapter 2． --- 审美效果与读者感受 --- p.151 / Chapter 第八章 --- 文化视角下的回目翻译研究 --- p.154 / Chapter 一． --- 翻译研究与文化研究的契合点及本章的重点 --- p.154 / Chapter 二． --- 译者的社会文化背景 --- p.155 / Chapter 三． --- 译者的双语言、双文化能力 --- p.162 / Chapter 四． --- 回目中文化负载词的翻译 --- p.164 / Chapter 1． --- 第一类，具体的文化词语 --- p.166 / Chapter 2． --- 第二类，抽象的文化词语 --- p.180 / Chapter 五． --- 文化的缺失、交融与不可译性 --- p.193 / Chapter 第九章 --- 结论 --- p.198 / Chapter 一． --- 回目翻译的困难 --- p.198 / Chapter 1． --- 回目翻译似易实难 --- p.198 / Chapter 2． --- 章回回目的自身难度 --- p.199 / Chapter 3． --- 中西差异导致的难度 --- p.203 / Chapter 二． --- 叙述功能制约下的创作与再创作 --- p.206 / Chapter 1． --- 叙述功能 --- p.206 / Chapter 2． --- 审美效果 --- p.207 / Chapter 3． --- 读者反应 --- p.208 / Chapter 三． --- 本文的不足之处 --- p.209 / Chapter 四． --- 话题的拓展延伸 --- p.210 / Chapter 1． --- 译文回目研究辅助原著回目研究 --- p.211 / Chapter 2． --- 西方章节标题与中国章回回目的全面比较 --- p.212 / 参考书目 --- p.213

by Pauline Po Chun Tam. / Text in Chinese and English / Bibliography: leaves 93-101 / Thesis (M.Ph.)--Chinese University of Hong Kong, 1985

My dissertation explores the formative stages of European interest in, engagement with and consumption of Indian pictorial art over a period of one hundred and fifty years, from the mid-16th century up to the early 18th century. During this period, European cabinets of curiosities witnessed the arrival of increasing numbers of a previously unknown class of collectible: Indian paintings on paper. Interest in these paintings was spurred by a growing curiosity about the East, combined with a general re-orientation of the European system of knowledge towards a more “scientific” methodology of inquiry, which encouraged a revision of the stereotypes that had informed medieval European conceptions of India through engagement with original sources. The relevance of this phenomenon to the history of early modern exchanges between India and Europe can hardly be overstated. Yet, modern scholarship has tended to ignore it, focusing instead on the Indian fascination with and reception of European artistic forms and techniques. This dissertation seeks to develop a more exhaustive picture of the early modern artistic encounter between India and the West, one in which European consumption of Indian paintings is dutifully represented and India plays an active role in the emerging system of knowledge. The starting and central point of my investigation consists of the vast and diversified collection of Indian paintings gathered by a Venetian traveler to India, Niccolò Manucci (1638-ca. 1720), as a visual accompaniment to his travel account, the so-called Storia do Mogor. This collection, which has remained largely ignored, makes a crucial case-study for approaching issues relative to the nature of European interest in Indian paintings in early modernity, the contexts and modalities through which this interest was articulated, as well as its relevance to processes of knowledge making and identity construction that were prompted by European encounters with alterities. The first part of my study provides an in-depth analysis of Manucci’s collection performed through a careful examination of the paintings it comprises along with contemporary textual sources, including the original manuscripts of the Storia do Mogor. My analysis exposes the interrelatedness of Manucci’s collecting enterprise with his authorial project, as well as assessing its broader scope and intended aims. The second part of the dissertation situates this collecting enterprise within its broader historical context by examining other European collections of Indian paintings dating from the 16th and 17th centuries and characterized by comparable subject matter: portraits of historical and living personages associated with Indo-Muslim dynasties, depictions of native Indian peoples and socio-religious customs, and representations of deities of the Hindu pantheon. Besides delving into the specifics of these collections, I explore their dialogic relation to one another and to descriptive practices and interpretative discourses that gained shape in European travel writing and print culture. In doing so, I highlight their participation in broader cultural trends and their contribution to evolving European approaches towards the Orient. This corpus of largely neglected works offers precious insights into the complex dynamics of cross-cultural encounter, as well as exposing the pivotal role played by early modernity in shaping later trends in Indo-European artistic interactions. Offering a direct antecedent to “Company painting,” a 19th-century Indian pictorial genre for European consumption, these works call for a revision of traditional understandings of the latter as an artistic development prompted by the rise of British colonial interests and agendas, and invite a broader reassessment of a unique historical era – the early modern one – that is key to understanding the roots of institutionalized Orientalism.

University of Macau / Faculty of Social Sciences and Humanities / Department of Chinese

No description available.

No description available.

No description available.

L’objectif principal de cette étude est de mettre à jour l’œuvre de Sébastien Le Camus († 1677), un nom derrière lequel se cache également celui de son fils, Charles Le Camus († 1717), lui-même compositeur. Les 32 airs connus du père ont été rassemblés dans un recueil d’auteur posthume publié en 1678 à l’initiative du fils. En faisant appel à la métaphore du cercle avec ce recueil au centre, nous parcourons, en périphérie, l’ensemble des sources écrites qui permettaient la diffusion du genre de l’air, sérieux et spirituel, dans la seconde moitié du XVIIe siècle et au début du XVIIIe siècle : les recueils collectifs musicaux et poétiques imprimés chez Ballard, les manuscrits conservés en France et à l’étranger, un roman – Clélie de Madeleine de Scudéry – et un périodique, le Mercure galant. Les 211 airs de Sébastien et Charles Le Camus collectés à ce jour ont été détachés de ces sources pour être maintenant rassemblés dans un catalogue (vol. 3) et dans une édition musicale moderne (vol. 4). La dynastie en miniature amène à s’interroger à la fois sur l’objet « partition » et sur la notion d’auteur, questionnée puis mise au centre de notre étude (vol. 1 et 2). En maniant finement cette notion plastique, nous offrons au musicien et au musicologue une analyse tant du contexte de création des airs que du matériau musical en tant que tel. Cette analyse, qui propose un va-et-vient entre la théorie et la pratique contemporaines de nos auteurs, amène à voir l’air comme un genre en mouvement dont la vie dépend tant de son succès dans les réseaux de sociabilité que de sa faculté à être composé, décomposé et recomposé pour s’adapter aux circonstances de son exécution. / The main goal of this study is to unveil the work of Sébastien Le Camus († 1677), behind whose name one also finds that of his son, Charles Le Camus († 1717), himself a composer. A collection of the father’s 32 known airs was published posthumously in 1678 upon the son’s initiative. By means of a metaphor, where that collection is at the centre of a circle, we navigate on the circle’s periphery through the set of written sources that allowed for diffusion of the genre of the French air, both secular and sacred, in the second half of the 17th century and at the beginning of the 18th century: The collections of airs and song-texts published by Ballard, the manuscripts kept in France and abroad, a novel – Clélie by Madeleine de Scudéry – and a periodical, the Mercure galant. The 211 airs by Sébastien and Charles Le Camus collected to date, extracted from those sources, are now gathered in a catalogue (vol.3) and in a modern music edition (vol.4). The miniature dynasty leads to explore the « score » as an object as well as the notion of author, first questioned and then set at the core of our study (vol.1 and 2). By subtle handling of that flexible notion, we offer to musicians and musicologists an analysis of both the airs’ creation context and the music material itself. This analysis, based on a constant dialogue between the theory and the practice of our authors’ time, leads to viewing the air as a dynamic genre whose life depends on its success within social milieus as much as on its ability to be composed, decomposed and recomposed according to the requirements of its performance context.

University of Macau / Faculty of Social Sciences and Humanities / Department of English

University of Macau / Faculty of Social Sciences and Humanities / Department of English