A Stylilstic Analysis of Chinese and English Translation of Huis Clos

A Stylilstic Analysis of Chinese and English Translation of Huis Clos
of 6
All materials on our website are shared by users. If you have any questions about copyright issues, please report us to resolve them. We are always happy to assist you.
Related Documents
  English rhetoric and stylistics 王丁丁 2013300340093Spring semester, 2015 A Stylilstic Analysis of Chinese and English Translation of  Huis Clos ——  Comparison and Contrast et!een the T!o Translated "ersions 1# $ntrod%ction  Huis Clo s,  No Exit   in English or & 禁闭 ' in Chinese, is a 1944 e(istentialist)rench play !ritten y *ean+a%l Sartre# The !hole play is ao%t ho! three deceasedcharacters are p%nished y eing loc-ed in a room in hell together and tort%ring oneanother for and Sartre tried to emed thro%gh this play se.eral of his essential philosophicalconcepts, incl%ding the famo%s and often misinterpreted /%otation enfer, cest lesa%tres or ell is other people, !hich is ao%t the oo- and the perpet%alontological str%ggle of eing ca%sed to see oneself as an oect in the !orld of another conscio%sness#  Huis Clo s in )rench is e/%i.alent to the legal term in camera6, !hich means in pri.ate, or a pri.ate disc%ssion ehind closed doors# 7ther English translations of thetitle incl%de  In Camera ,  No Way Out  , Vicious Circle ,  Behind Closed Doors , and  Dead  End  # 7ther Chinese translations incl%de & 隔离审讯 '& 密室 '& 禁锢 '& 间隔 '& 禁止旁听 '& 没有出口 ' and & 他人 '#The play !as first performed at the Th8tre d% "ie%(+Colomier in :ay 1944# $nChina, these years, more and more little theatres and %ni.ersity drama cl%s are performing it, sho!ing an increasing interest in this play# o!, its only pre.alent .ersion of Chinese translation that co%ld e fo%ndonline is far from satisfaction, from the perspecti.e of oth a%diences and theatregro%ps# Th%s, $ !ill ma-e a stylilstic comparati.e st%dy et!een English and Chinesetranslations of this play on the asis of the srcinal )rench script, and gi.e somes%ggestions for the modification of the Chinese one# 2# honological )eat%re ;%e to the disting%ishing feat%res of the genre of play script, the phonologicalfeat%res largely depend on different designs of directors and lang%age patterns of actors or actresses# <%t !e can still compare the t!o .ersions in terms of phonologicalde.ices#=ndisp%tedly, the phonological concerns of the English .ersion is more  elaorati.e than the Chinese one#e#g# >A?C$@ ###*e ne p eux  pl%s .o%s s%pporter, e ne p eux  pl%s# "a+tenB T% med8gofttes encore pl%s /%elle# *e ne . eux  pas menliser dans tes y eux # T% es moite B t%es molle B T% es %ne, t% es %n mar8cage# )renchD>A?C$@ ### $ cant end%re it any l o nger, $m thro%gh !ith yo%  o th# > o  a!ay#o%re e.en fo%ler than she# $ ! o nt let myself get  o gged in yo%r eyes# o%re so ftand s limy# =ghB i-e an o ctop%s# i-e a /%agmire# 6 EnglishD …… 加尔散: 我对你们再!"#$%&我再'()%*+,你-./0我12&我(34你56789:;<*你=>>?@AAB,你CDEFG&你CDHIJ* ChineseDFitho%t ta-ing meaning into consideration, it is clear that the English translationis rhythmic to read !ith the application of phonetic de.ices s%ch as alliteration andassonance, !hich is faithf%l to the srcinal# The !ord  s oft alliterates !ith    s limy , thee/%i.alence of !hich in )rench are moite and molle , also alliterating to each other#:ean!hile, o  pen assonates !ith b o th,   o and   ! o n"t#    $ o ner   assonates !ith b o  ed,  so  ft   and   o ctopus #Fhereas, eca%se of the different lang%age systems Chinese and EnglishG)rench elong to, namely Sino+Tietan lang%age family and $ndo+E%ropean lang%age family,it is diffic%lt for Chinese translators to achie.e a similar phonological effect, %t theystill can resort to other Chinese techni/%es# $n this paragraph, red%plication is %sed inthe e(pressions li-e   ” =>>?@AA  to impro.e the rhythmicality and di.ersity of !ording# 3# e(ical )eat%re 3#1 ;ictionFhen it comes to translating literary !or-s, diction is one of the most cr%cialand demanding part# $t re/%ires that the tranlation !or-, on one hand, e as faithf%l tothe so%rce lang%age as possile, and on the other hand, conform to the targetlang%ageHs haits#e#g# ESTEE ###Eh ien, le/%el de .o%s de%( oserait mappeler son eau vive I7n ne .o%s trompe pas, .o%s a%tres, .o%s sa.eJ /%e  je suis une ordure ### )renchD ESTEE ###Fell, !hich of yo% t!o !o%ld dare to call me his glancing stream ,his crystal girlI o% -no! too m%ch ao%t me, yo% -no! I'm rotten through andthrough ### EnglishD …… “ KLM尔: NO&你们P人QRS0我 TU ” V我(W你们&你们XY我CZ[\  …… * ChineseDEa% .i.e6 in the srcinal script, meaning r%nning !ater or fresh !ater, istranslated respecti.ely into glancing stream6 in English, a free translation, and  TU 6 in Chinese, a literal translation# $t is tr%e that ea% .i.e6 can e directly translatedinto  TU 6, %t the latter fails to con.ey the connotation of the former in its o!nc%lt%re, !hich is a s!eet, romantic nic-name for lo.ers# o!, glancing stream6carries oth denotati.e and connotati.e meanings of ea% .i.e6# :y s%ggestion is to%se  ]^ 6 instead of  TU 6# The same sit%ation occ%rs in $m rotten thro%gh and thro%gh6 and  我CZ[  \ 6, e/%i.alent to e s%is %ne ord%re6 in the srcinal script#3#2 rono%nFhat is also !orth noticing is the different %se of prono%ns in these three.ersions# $n )rench, prono%ns are %sed more often in collo/%ial sentences, !hich isnot the same as in English and Chinese#e#g# >A?C$@ ### Tu  es moiteB tu  es molleB Tu  es %ne,  tu es %nmar8cage# )renchD>A?C$@ ### You Hre soft and slimy# =ghB i-e an octop%s# i-e a /%agmire#EnglishD …… 加尔散: 你=>>?@AAB,你CDEFG&你CDHIJ* ChineseD$n the srcinal .ersion, the a%thor %ses fo%r t%6s, meaning yo%, in t!o shortsentences# $n the Chinese .ersion, there is three  你 6s piled together, !hich, from the perspecti.e of a Chinese a%dience, creates a h%ddled feeling to hear or read# Fhile inthe English .ersion, the translator only -eeps one yo%6, according to the economicaland s%ccinct principle#3#3 "%lgar ang%ageThe srcinal play, tho%gh as%rd in plot and setting, is act%ally realistic in certainaspects, incl%ding the %sage of .%lgar lang%age#e#g# $@KS aB chienne B A plat .entreB A plat .entreB )renchD$@EL Thats right, fa!n on him, li-e the silly bitch  yo% are# >ro.el and cringeBEnglishD _`L  a,bc,defgh,defgh, ChineseDChienne6 in Chinese means  bc 6, %t the English translation itch6, e(ceptfrom its asic meaning, contains an e(tended meaning of sl%t6, !hich is moreappropriate in the conte(t# $n addition, the English .ersion tends to .onl%ntarily add c%rses !hen charactersare going thro%gh intensi.e conflicts, in order to ma-e the con.ersations morea%thentic#e#g# ESTEE ### :ais /% est+ce /%il fa%t /%e e fasse po%r /%e t% me lchesI### )renchDESTEE ###7h, damn it , isnt there anything $ can do to get rid of yo%I###EnglishD 4# SyntacticG >ramatical )eat%re 4#1 Sentence engthThe common syntactic feat%re of the three .ersions is that the maority of thescripts are simple sentences and short, clipped dialog%es, mostly in a /%estion+and+ans!er form, !ith long monolog%es appearing alternately# Ta-e %cene &  as an e(ample# $n the English .ersion, there are in total 12M0 !ordsin %cene &  and 190 sentences, !hich means the a.erage sentence length is only N#O!ords per sentence, !ay less than the general fig%re of 1O#N# Comparati.ely, in the  Chinese .ersion, there are in total 1O4O Chinese characters in %cene &  and 1N3sentences, !hich means the a.erage sentence length is 10#O Chinese characters per sentence, !hich is !ithin the normal fig%re of OP12#4#2 $mperati.e Sentence The translation methods of the imperati.e sentences, !hich occ%r a lot, ha.edistincti.e feat%res in the t!o .ersions# e#g ESTEE ### Ramasse-moi, prends-moi , dans ton cQ%r, t% .erras comme eserai gentille# )renchDESTEE ### So gather me up,  dear, fold me to your heart — and yo%Hll seeho! nice $ can e# EnglishD …… KiM尔: j我klmh&j我ne你ogh&你pqr我CsOtu* ChineseDThe English .ersion %s%ally %ses the same sentence str%ct%re as the )rench.ersion, !hile the Chinese one is inclined to add interections at the end of e.eryimperati.e sentence to achie.e certain tones, incl%ding imploration and command#<%t too many repeated  h 6s ma-e the syntactical str%ct%re a little it monotono%sand red%ce the sentence m%ltiformity# Therefore, play script translators sho%ld pay more attention to the .ariety of diction and the readaility# 5# Semantic )eat%re The srcinal play is o%tstanding at the aptly %sed rhetorical de.ices, especiallyfig%res of speech, th%s ma-ing it a demanding o for the translators to accomodate oth lang%ages#e#g# >A?C$@ ### ce fantme de souffrance , /%i frle , /%i caresse  et /%i ne fait amais asseJ mal# )renchD>A?C$@ ### this creeping pain  that gna!s  and  fumbles and ca-resses  one h%rts /%ite eno%gh# EnglishD 加尔散  vvwxyBz{&|}你~•€€:&|‚ƒ你&tC}m(„你…r†x* ChineseD$n this sentence, oth metaphor and personification are %sed# The Chinese.ersion acc%rately translate ce fantRme de so%ffrance6 into  wxyBz{ 6, !hilethe English .ersion %ses the e(pression of this creeping pain6# The !ord creeping6implies that the agoniJing pain is snea-ing aro%nd and annoying the spea-er, !hich ismore implicit and e.en than the srcinal .ersion# As for the personified .ers, the English .ersion adds a .er gna!6 to enhancethe po!erf%l effect of the parallel str%ct%re, and the compact, repeated and6s restorethe srcinal climactic er%ption of the spea-erHs emotion# o!, in the Chinesetranslation, the tempo and tension are s%ddenly alle.iated eca%se of the alteration of the sentence pattern#Another e(ample also sho!s the fle(iility and creati.ity of the English .ersion,!hich adds detailed descriptions to ma-e the metaphor more reasonale and literary#e#g# ESTEE ###*e ne s%is pl%s /%%ne peau  + et ma pea% nest pas po%r .o%s#  )renchD ESTEE ### I'm just a hollo! dummy , all thats let of me is the outside —  %tits not for yo%# EnglishD KLM尔  我‡ˆ9D‰Š)&‹C我w‰Š(CŒŽB* ChineseD N# Concl%sion After comparing the srcinal script of  Huis Clos !ith its t!o translated .ersions,!e may come to the concl%sion that the English .ersion is etter oth stylistically andliterarily# To change the c%rrent sit%ation of lac-ing e(cellent Chinese tranlations of important play scripts li-e  Huis Clos , theatres, drama schools or p%lishing ho%sessho%ld start o%t to assemle teams of /%alified Chinese literary translators toretranslate those famo%s play scripts# 7ther!ise, theatre gro%ps in %ni.ersities andlittle theatres co%ld only resort to those Chinese translations of inferior /%alitytranslated y some %n-no!n translators, ostr%cting the progress and de.elopment of ChinaHs theatrical le.el# This phenomenon sho%ld e attached great importance to ythe a%thorities concerned# ?eferences *ean+a%l Sartre,  Huis Clos "‘ , httpGGschools#alcds#on#caGteachersGmcr%liGiGShared20;oc%mentsGFritten20assignment20DGSartre20+20%is20clos20Te(teD20#pdf   No Exit    ’‘ , httpGG!!!#.anderilt#ed%GolliGclass+materialsG*ean+a%lSartre#pdf  “禁闭”Q‘ , httpGG!en-%#!G4a3aOf0002020O40e1e91c#html – , “˜™’š›œž”
Similar documents
View more...
Related Search
We Need Your Support
Thank you for visiting our website and your interest in our free products and services. We are nonprofit website to share and download documents. To the running of this website, we need your help to support us.

Thanks to everyone for your continued support.

No, Thanks