University of Macau / Faculty of Arts and Humanities. / Department of English

University of Macau / Faculty of Arts and Humanities. / Department of English

University of Macau / Faculty of Arts and Humanities. / Department of Portuguese

University of Macau / Faculty of Arts and Humanities. / Department of English

When translating musicals from one culture to another, a translator’s role is to convert the text for its stage representation in a different context. However, during the process from this translated text to it finally being performed on stage, changes are inevitable. Issues surrounding the nature of such changes, the reasons for which they are made, and their resulting effects, have hitherto been little researched. The present study seeks to explore such issues through an examination of the ways in which the development of the translated text is shaped by interactions between the various stakeholders including professional translators, fans and production team members, i.e. the director and actors, as well as the audience themselves. Employing some of the major concepts of Actor Network Theory as the principal theoretical framework, together with a case study approach combining textual analysis and empirical studies, this project focuses on Putonghua translations of Western musicals on the Chinese mainland. More specifically, through investigating three of the most recent and professionally translated and performed Western musicals: I love you, you’re perfect, now change (USA), Spin (Finland), and Mamma Mia! (UK), it intends to show how differing stakeholder perspectives on issues of performability and reception are negotiated to produce a commercially successful translation product.

published_or_final_version / abstract / toc / Chinese Historical Studies / Master / Master of Arts

Translating and reading western modernist literature played a vital role in forging contemporary Chinese literature and China’s mode of subjectivity, but little has been written about them, and even less about the interconnections between them. My PhD thesis aims to offer a comprehensive interpretation of the phenomenon of translating and reading modernist literature in Mao’s China, focusing particularly on translators’ and readers’ agency, and their collective construction of a multifaceted discourse of subjectivity. The central questions I try to answer in my thesis are: For what “practical” purposes or needs did the Chinese Communist Party order the translation and publication of these modernist texts which are clearly against the ideology of Mao’s China? What mark did translators from state controlled institutions leave in the intellectual history of China? Why did western modernist literature of 1950s cause such a strong response from the intellectual youth in the 1970s? In Mao’s China, there were a number of modernist literature texts that were translated and published. They were only intended to be available for a very limited readership consisting of high ranking party officials, but ended up being leaked, and eventually became extremely popular in the underground reading movement. I decided to focus on the three most widely read texts, which are On the Road (first translated into Chinese in 1962), Catcher in the Rye (first translated into Chinese in 1963), and Waiting for Godot (first translated into Chinese in 1965). By mapping the translation process and the underground reading of these texts into the context of the politics of China from the early 1960s to the late 1970s, my study provides three arguments which attempt to answer the three questions raised above: 1) Mao’s China encountered similar modernity situations so that western modernist literature after World War II was translated for internal circulation and criticism; 2) Thanks to the subjectivity of translators from state controlled institutions, their translations paved the way for the rising of the self, the end of revolution, and the individualization of Chinese society; 3) As early as in the 1960s to 1970s, the conscious reading of modernist literature brought alternative understandings of self and ways of being, and the sent-down Chinese youth have new self-projection by reading these texts. Few researchers have studied translation beyond analysis of target language text (TLT), while my methodological innovation is to connect three traditionally isolated subjects into a single continuing process of meaning giving activity: the source text and their role in forging western subjectivity; translators and their translations in Mao’s context; and Chinese underground reading of western literature from late 1960s to 1970s. This is a comparative and theoretical study of the three chosen texts in their historical contexts in order to reconsider the cultural significance of translating and reading modernist literature in Mao’s China. I hope it will modify our view of translation and reading history in Mao’s China, contributing to theories of subjectivity and the plurality of Chinese modernity discourse. / published_or_final_version / Chinese / Doctoral / Doctor of Philosophy

University of Macau / Faculty of Arts and Humanities. / Department of English

Cheng, Hui Tung Eos. / Thesis (Ph.D.)--Chinese University of Hong Kong, 2013. / Includes bibliographical references (leaves 425-429). / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstract and appendix also in Chinese.

周晶. / "2011年9月". / "2011 nian 9 yue". / Thesis (M.Phil.)--Chinese University of Hong Kong, 2011. / Includes bibliographical references (leaves 197-214). / Abstract and table of contents in Chinese and English. / Zhou Jing. / 中文摘要 --- p.i / 英文摘要 --- p.ii / 前言 --- p.iii / 目錄 --- p.iv / 圖表目錄 --- p.vii / Chapter 第一章 --- 緖論 --- p.1 / Chapter 1.1 --- 研究目的 --- p.1 / Chapter 1.2 --- 文本界定 --- p.5 / Chapter 1.3 --- 研究方法 --- p.6 / Chapter 第二章 --- 原文背景和基本内容的考量 --- p.9 / Chapter 2.1 --- 原文作者和她的《喜福會》 --- p.9 / Chapter 2.2 --- 原文的文學主旨 --- p.12 / Chapter 2.2.1 --- 母女關係 --- p.15 / Chapter 2.2.2 --- 移民種族身份 --- p.17 / Chapter 2.2.3 --- 文化衝突 --- p.20 / Chapter 2.3 --- 原文中表述的中西方文化概念 --- p.22 / Chapter 2.4 --- 小結 --- p.28 / Chapter 第三章 --- 《喜福會》的中譯本及相關研究 --- p.29 / Chapter 3.1 --- 《喜福會》的多重中譯本 --- p.29 / Chapter 3.2 --- 翻譯中的“本土化´ح和“外族化´ح現象 --- p.34 / Chapter 3.3 --- "Venuti (1995/2008, 1998 a-c)的理論" --- p.39 / Chapter 3.3.1 --- Venuti承上啟下的角色 --- p.40 / Chapter 3.3.2 --- 造成“本土化´ح與“外族化´ح現象的原因 --- p.45 / Chapter 3.4 --- 小結 --- p.48 / Chapter 第四章 --- 文本描寫的理論框架 --- p.49 / Chapter 4.1 --- 基本原則 --- p.49 / Chapter 4.2 --- 原文的描寫規範 --- p.53 / Chapter 4.2.1 --- 界定文學主旨 --- p.53 / Chapter 4.2.1.1 --- 母女關係 --- p.53 / Chapter 4.2.1.2 --- 移民種族身份 --- p.56 / Chapter 4.2.1.3 --- 文化衝突 --- p.59 / Chapter 4.2.1.4 --- 小結 --- p.62 / Chapter 4. 2. 2 --- 界定本源文化概念 --- p.63 / Chapter 4.3 --- 譯文的描寫規範 --- p.67 / Chapter 4.3.1 --- 翻譯策略的兩種含義 --- p.69 / Chapter 4.3.2 --- “本土化´ح或“外族化´ح的翻譯策略 --- p.76 / Chapter 4.3.2.1 --- 現有的研究 --- p.77 / Chapter 4.3.2.2 --- 本研究的描寫規範 --- p.85 / Chapter 4.4 --- 結語 --- p.95 / Chapter 第五章 --- 對應文本的例子分析 --- p.97 / Chapter 5.1 --- 文學主旨的例子 --- p.97 / Chapter 5.1.1 --- 母女關係 --- p.98 / Chapter 5.1.2 --- 移民種族身份 --- p.108 / Chapter 5.1.3 --- 文化衝突 --- p.115 / Chapter 5.2 --- 本源文化概念的例子 --- p.121 / Chapter 5.2.1 --- 源語文化概念 --- p.121 / Chapter 5.2.2 --- 譯語文化概念 --- p.125 / Chapter 5.3 --- 結語 --- p.129 / Chapter 第六章 --- 語料庫及描寫數據 --- p.130 / Chapter 6.1 --- 雙語平行文本語料庫 --- p.130 / Chapter 6.2 --- 有關翻譯策略分佈比率的說明 --- p.138 / Chapter 6.3 --- 翻譯策略在個別譯本中分佈 --- p.141 / Chapter 6.3.1 --- 于譯本 --- p.141 / Chapter 6.3.2 --- 田譯本 --- p.144 / Chapter 6.3.3 --- 吳譯本 --- p.147 / Chapter 6.3.4 --- 程譯本…… --- p.150 / Chapter 6.3.5 --- 多重譯本的比較 --- p.153 / Chapter 6.4 --- 翻譯策略在四個譯本中的整體分佈 --- p.158 / Chapter 6.5 --- 誤差測定 --- p.161 / Chapter 6.6 --- 結語 --- p.164 / Chapter 第七章 --- 從翻譯的認知過程看翻譯策略的分佈 --- p.166 / Chapter 7.1 --- 翻譯認知過程的有關研究 --- p.167 / Chapter 7.2 --- 雙語處理過程的經濟原則 --- p.173 / Chapter 7.3 --- 理論框架的延伸 --- p.181 / Chapter 7.4 --- 對《喜福會》中譯本中翻譯策略分佈的解讀 --- p.184 / Chapter 7.5 --- 結語 --- p.187 / Chapter 第八章 --- 結論 --- p.189 / 參考文獻 --- p.197 / 英文目錄 --- p.215