published_or_final_version / abstract / toc / Chinese / Master / Master of Philosophy

兒童文學故事經典Alice's Adventures in Wonderland (以下簡稱Alice)創作於1865年的英國。在原著作者路易斯·卡羅爾（Lewis Carroll）筆下，故事主角愛麗絲展現了好奇勇敢、能思善辯、富有主見的兒童形象，她的漫遊奇遇詮釋了她由脆弱被動到強勢自主的形象轉變。1922年，愛麗絲藉由趙元任的Alice華文譯本第一次進入華文語境，由此展開她在華文地區（中國大陸地區、港澳台地區、新加坡和馬來西亞華人地區）迄今長達93年的旅行。旅程中，隨著譯本出現時間和地域的不同，被構建出的愛麗絲華文形象互不相同，構建這些華文形象的成人譯者亦扮演著不盡相同的角色。本研究以文學理論家愛德華·賽義德（Edward Said）的「旅行四階段」和「歷史與情境」論為基本理論框架，並融入比較文學形象學（Imagology）中「自我--他者」這一核心概念帶來的啟示，由此推導出符合「歷史與情境」且強調人為因素的關鍵概念，即由成人自我構建出的他者「兒童形象」概念。在上述理論架構引導下，本研究首先對1922--2014年間的338個Alice華文譯本的譯本特點和出現原因進行分析和闡述，勾畫出愛麗絲在四個華文地區兩段旅程五條路線的旅行全景，再以四個華文地區中的6個Alice華文譯本為個案代表，深入探討成人譯者在構建愛麗絲華語形象過程中採取的翻譯策略、方法和來自其他參與者（如出版者、繪圖師、譯序作者等等）的制約因素。論文著重闡釋譯者在目標文本形象建構中的主動和被動特性，對每個案例中的成人譯者角色做了較為全面的解析。本研究得出如下結論：（一）華文地區「兒童形象」因「時」、因「地」不同而表現形式不同，它直接影響和決定Alice華文譯本出版數量和形態等譯本特徵的形成和演變，這是愛麗絲華文旅行呈現出的主體情形；（二）在愛麗絲華文形象的具體建構過程中，因譯本創作時間和地點不同，目標文本形象會在源文本形象的兩個組成部分（即：形象側面和形象轉變）出現不同程度的改變；（三）譯者主動特性和被動特性的作用過程即為愛麗絲華文形象的構建過程；在源文本和目標文化「兒童形象」的雙重影響下，成人譯者做出了靈活度不同的個人選擇，定義了複雜和多重的譯者角色。

Dai Wangshu 戴望舒 (1905-1950) was a prolific translator, working on both French and Hispanic literature. However, his translation work has often been considered relevant only to the extent that it helped him to develop a self-fashioned modernist style in his own poetic writing. Moreover, no systematic study has been conducted on his interest in Hispanic literature, particularly on his translation of Federico García Lorca’s poetry, a project to which he dedicated over half of his professional career but left unfinished. In addition, investigations on Dai have been generally approached from a narrow theoretical perspective that has risked overlooking the social factors that affected his literary activities. This thesis, therefore, aims to reveal the extent and the way in which translating Lorca into Chinese contributed to the establishment and consolidation of Dai’s position as a social agent in the field of literary production in China. The methodology is constructed in an attempt to reconcile a sociological perspective on translation drawing on Pierre Bourdieu’s theory with a more interpretive understanding of literary writing based on the notion of transculturation inherited from Latin American cultural studies. Examining Dai’s translation of Lorca’s poetry from this integrated perspective allows foregrounding the heterogeneity and multiplicity of Dai’s literary dispositions, at both a macroscopic and a microscopic level, without ignoring the social factors involved in his translation practice. By embedding Lorca’s poetry in the field of literary production in China, Dai privileged a particular set of possibilities over the others, both literary and ideological at the same time. This kind of behaviour in Dai can be interpreted in terms of transculturation and observed in various textual domains, involving formal literary elements, discourses and worldviews. Furthermore, Dai’s project of translating Lorca’s poetry, which expanded over a three-decade period, allows establishing striking connections among literary journals and groups at various temporal and spatial locations, each of them associated with different and often competing views on translation, literature and politics. In sum, Dai’s translation project of Lorca played a pivotal role in establishing and consolidating Dai’s position in the literary scene to the extent that his status as a literary figure was more determined by his translation work than by his own poetic writing. Dai’s translation of Lorca involved not only transculturating a specific text-type, the romance, but also a particular view on the role of literature in society that, unexpectedly, positioned him as an author opportunistically committed to the Communist cause. This investigation contributes new evidence that helps to question some long-standing assumptions both in studies on Dai and in reflections on the role of translation in Chinese literature. In addition, it allows arguing for a study of such a role at large without the need to subsume translation to any other sort of practice.

Grace Chor Yi Wong. / Publication date from spine. / Thesis (M.Phil.)--Chinese University of Hong Kong, 1995. / Includes bibliographical references (leaves [131]-139). / Acknowledgments --- p.i / Abstract --- p.ii / Chapter Chapter 1. --- Introduction --- p.1 / Chapter 1.0 --- Background --- p.1 / Chapter 1.1 --- Scope of Study --- p.2 / Chapter 1.2 --- Translation vs. Adaptation --- p.5 / Chapter 1.3 --- Translating for the Stage --- p.7 / Chapter Chapter 2. --- Translation of Titles --- p.11 / Chapter 2.0 --- Introduction --- p.11 / Chapter 2.1 --- Classification of Titles --- p.12 / Chapter 2.2 --- Translation of Titles of Six Shakespeare's Comedies --- p.17 / Chapter 2.3 --- Conclusion --- p.27 / Chapter Chapter 3. --- Translation of Names of Characters --- p.29 / Chapter 3.0 --- Introduction --- p.29 / Chapter 3.1 --- Various Strategies at Work --- p.31 / Chapter 3.2 --- Names for Stage Performance --- p.37 / Chapter 3.3 --- Translation of Names of Characters in Six Comedies --- p.41 / Chapter 3.4 --- Conclusion --- p.51 / Chapter Chapter 4. --- Translation of Songs --- p.53 / Chapter 4.0 --- Songs as a dramatic Device in Shakespeare's Comedies --- p.53 / Chapter 4.1 --- The Translation of Songs in Five Comedies --- p.56 / Chapter 4.1.1 --- The Two Gentlemen of Verona --- p.57 / Chapter 4.1.2 --- A Midsummer Night's Dream --- p.60 / Chapter 4.1.3 --- As You Like It --- p.68 / Chapter 4.1.4 --- Twelfth Night --- p.78 / Chapter 4.1.5 --- The Tempest --- p.89 / Chapter 4.2 --- Conclusion --- p.97 / Chapter Chapter 5. --- Settings of the Six Comedies --- p.99 / Chapter 5.0 --- Introduction --- p.99 / Chapter 5.1 --- Settings and the Translation of Titles --- p.101 / Chapter 5.2 --- Settings and the Translation of Character Names --- p.104 / Chapter 5.3 --- Settings and the Translation of Songs --- p.105 / Chapter 5.4 --- Conclusion --- p.108 / Chapter Chapter 6. --- Translation of Puns --- p.109 / Chapter 6.0 --- Introduction --- p.109 / Chapter 6.1 --- Translation of Puns in Six Comedies --- p.111 / Chapter 6.2 --- Conclusion --- p.124 / Chapter Chapter 7. --- Conclusion --- p.127 / Bibliography --- p.131

published_or_final_version / Chinese / Master / Master of Arts

published_or_final_version / Chinese / Master / Master of Philosophy

楊曉頤. / 論文(哲學碩士) -- 香港中文大學硏究院翻譯學部, 1998. / 參考文獻: leaves 132-141. / 中英文摘要. / Yang Xiaoyi. / 引言 --- p.1-2 / Chapter 第一章 --- 《阿麗思漫游奇境記》原著及譯作背景 --- p.3-13 / Chapter 第一節 --- 原著背景 / 英國維多利亞時代的文壇情況 --- p.3 / 《阿麗思漫游奇境記》的創作過程 --- p.5 / Chapter 第二節 --- 譯作背景 --- p.10 / Chapter 第二章 --- 角色名字的翻譯 --- p.14-29 / Chapter 第一節 --- 與真實人物有關的名字 --- p.14 / Chapter 第二節 --- 與神話故事有關的名字 --- p.19 / Chapter 第三節 --- 與社會習俗有關的名字 --- p.21 / Chapter 第四節 --- 與流行諺語有關的名字 --- p.24 / Chapter 第三章 --- 角色形象的翻譯 --- p.30-66 / Chapter 第一節 --- 小女孩形象 --- p.31 / Chapter 第二節 --- 成年人形象 --- p.49 / Chapter 第三節 --- 主僕形象 --- p.56 / Chapter 第四節 --- 貴族形象 --- p.62 / Chapter 第四章 --- 遊戲文字的翻譯 --- p.67-115 / Chapter 第一節 --- 語音層面 --- p.67 / Chapter 第二節 --- 詞彙層面 --- p.73 / Chapter 第三節 --- 句法層面 --- p.100 / Chapter 第四節 --- 表現手法 --- p.103 / 結論 --- p.116-121 / 注釋 --- p.122-126 / 附錄一 《阿麗思漫游奇境記》中譯本概覽 --- p.127-129 / 附錄二 《阿麗思漫游奇境記》插圖 --- p.130-131 / 參考文本 --- p.132 / 參考書目 --- p.133-141

Cheng Hui Tung, Eos. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2004. / Includes bibliographical references (leaves 409-416). / Abstracts in English and Chinese. / Acknowledgements --- p.vi / Chapter Part I --- Introduction / Chapter 1 --- Introduction of the Present Study --- p.1 / Chapter Part II --- Word-music Interactions in Translated Hymns Sung in Cantonese / Chapter 2 --- An Overview of Vocal Text Translating --- p.18 / Chapter 3 --- Word-music Interaction: Tone-melody Relationship --- p.87 / Chapter 4 --- "Word-music Interaction: Aspects of Time - Rhythm, Accent, and Phrasing" --- p.153 / Chapter 5 --- Word-music Interaction: Rhyming --- p.223 / Chapter 6 --- Word -music Interaction: Immediate Comprehensibility --- p.295 / Chapter 7 --- Reconciling Words and Music for a Dialectal Hymnal --- p.369 / Chapter Part III --- Conclusions / Chapter 8 --- Conclusions --- p.396 / References --- p.409 / Appendix: Development of Chinese Christian Hymns --- p.417

周閩. / "2011年9月". / "2011 nian 9 yue". / Thesis (M.Phil.)--Chinese University of Hong Kong, 2011. / Includes bibliographical references (leaves 149-158). / Abstract in Chinese and English. / Zhou Min. / Chapter 第一章 --- 緒論 --- p.1 / Chapter 1.1 --- 硏究對象和主要內容 --- p.1 / Chapter 1.2 --- 莎士比亞十四行詩的漢譯本 --- p.3 / Chapter 1.3 --- 文獻回顧 --- p.9 / Chapter 1.4 --- 硏究方法和理論 --- p.12 / Chapter 第二章 --- 十四行詩的起源與發展 --- p.15 / Chapter 2.1 --- 十四行詩的起源與彼得拉克體十四行詩 --- p.17 / Chapter 2.1.1 --- 十四行詩的起源 --- p.17 / Chapter 2.1.2 --- 彼得拉克與意體十四行 詩 --- p.19 / Chapter 2.2 --- 英國的十四行詩風潮與斯賓塞體十四行詩 --- p.23 / Chapter 2.2.1 --- 伊麗莎白時代的十四行詩風潮 --- p.23 / Chapter 2.2.2 --- 斯賓塞體十四行詩 --- p.26 / Chapter 2.3 --- 莎士比亞十四行詩：繼承與創新 --- p.29 / Chapter 2.4 --- 十四行詩在中國的早期譯介 --- p.34 / Chapter 第三章 --- 莎士比亞十四行詩的形、音、意及其漢譯 --- p.42 / Chapter 3.1 --- 莎士比亞十四行詩的形式及其漢譯 --- p.45 / Chapter 3.1.1 --- 莎士比亞十四行詩的韻式 --- p.47 / Chapter 3.1.2 --- 莎士比亞十四行詩的節 奏 --- p.59 / Chapter 3.2 --- 莎士比亞十四行詩的音樂效果及其漢譯 --- p.68 / Chapter 3.2.1 --- 聲音音色與音樂效果 --- p.70 / Chapter 3.2.2 --- 聲音模式與音樂效果 --- p.76 / Chapter 3.2.3 --- 聲音運動與音樂效果 --- p.82 / Chapter 3.3 --- 莎士比亞十四行詩的意象及其漢譯 --- p.84 / Chapter 3.3.1 --- 莎士比亞十四行詩的“意´ح與“象´ح --- p.86 / Chapter 3.3. 2 --- 莎士比亞十四行詩意象漢譯的特殊問題 --- p.101 / Chapter 第四章 --- 個別譯本評析 --- p.109 / Chapter 4.1 --- 梁宗岱與《莎士比亞十四行詩》 --- p.109 / Chapter 4.2 --- 屠岸與《莎士比亞十四行詩集》 --- p.118 / Chapter 4.3 --- 辜正坤與《莎士比亞十四行詩集》 --- p.125 / Chapter 4.4 --- 梁實秋與《十四行詩》 --- p.133 / Chapter 第五章 --- 結語 --- p.141 / 參考書目 --- p.149

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