1、  畢業(yè)設(shè)計(jì)(論文) 題目：Iagos Purposes and the Translation of his Dialogues伊阿古的企圖與對(duì)白翻譯 學(xué) 院： 外國語學(xué)院 專 業(yè)： 英 語 _班 級(jí)： 06級(jí)本科8班_ 學(xué) 號(hào)： 0625110510 _姓 名： 黃 麗 蓉 指導(dǎo)老師： 李 曉 瀅 二0 一0年五月十七號(hào)伊阿古的企圖與對(duì)白翻譯中文摘要戲劇翻譯是項(xiàng)艱難的任務(wù)。國內(nèi)很多翻譯雖然語言優(yōu)美并且忠實(shí)于原文，但對(duì)戲劇來說，這樣的譯文很可能無法反映出劇中人物特有的語言個(gè)性。如果戲劇人物文化水平不高，那么我們不能為追求語言美而把他的臺(tái)詞譯的辭藻華麗。

2、這么做，一來對(duì)戲劇里的美學(xué)造成傷害，二來不能給讀者一個(gè)活生生的人物形象。一個(gè)人的意圖的不同決定了人們行動(dòng)上的多元化，而人物行動(dòng)又是其個(gè)性的體現(xiàn)。在戲劇中，人物的意圖與劇情之間存在一定的一致性。在翻譯時(shí)，譯者可對(duì)人物企圖劇情做深入的分析、把握人物心理目標(biāo)，從而使譯文盡可能地體現(xiàn)人物語言個(gè)性特點(diǎn)。伊阿古是奧瑟羅中非常活躍的角色。本文針對(duì)伊阿古及他的企圖進(jìn)行分析，并解釋這些企圖是如何影響對(duì)白翻譯的。文章首先對(duì)莎士比亞及一些翻譯、心理學(xué)相關(guān)理論作了簡單介紹，其次對(duì)伊阿古的企圖進(jìn)行分析并以例子說明劇情和人物企圖對(duì)白翻譯的影響，最后總結(jié)伊阿古的企圖分析在戲劇翻譯中的重要性?？偟貋碚f，本文以推理和思辨為研究

3、方法，指出了“分析-翻譯”的翻譯方法不僅能使譯文流暢且忠實(shí)于原著，更能使譯文充實(shí)地表達(dá)出原著人物的多樣性從而保持原著劇情的跌宕起伏。關(guān)鍵詞：戲劇，翻譯，企圖，分析Iagos Purposes and the Translation of his DialoguesAuthor: Lirong Huang黃麗蓉Supervisor: Xiaoying Li李曉瑩Abstract:To translate dramas is not an easy job. Though being fluent and sticking to the original works, the translatio

4、n works are not likely to reflect the characters of roles. If we translate the dialogues of a role who is poorly educated with flowery language, it not only harms the aesthetics of drama, but does not impress the readers with a vivid image of blood and fresh. The variation of purposes leads to the v

5、ariation of actions, which reflect the characters. The roles purposes are in accordance with the plot. When translating, translators should embody the translation works with roles purposes by analyzing the purposes and plot in order to present a vivid image. Iago is a vary active role in Othello. Th

6、is paper focuses on the analysis of Iago and his purposes, and it also explains how his purposes influence the translation of his dialogues. Firstly, an introduction of Shakespeare and some relevant translation and psychology theories are presented. Secondly, examples will illustrate that how Purpos

7、e Analysis influences the translation. Lastly, the importance of Purpose Analysis of drama is demonstrated in the conclusion. This paper uses the method of discursion and deliberation. Following the Analysis- Translation Proces given in this paper, we can make our translation work be not only fluent

8、 and sticking to the original work, but containing the variety of the characters and the rhythm of the plot Key Words: drama, translation, purpose, analysisContentsAbstract in Chinese.iAbstract in English.iiPart I. Introduction.11.1 Introduction of William Shakespeare and his Othello.11.2 Relevant T

9、heories of literary Translation.21.3 Relevant Theories of Psychoanalysis.4Part II. Introduction of Iago and his Purposes .6Part III. Analysis of Iagos Purposes and Translation of his Dialogues.103.1 Purposes : Keeping Close to People .103.2 Purposes : Motivating People.133.3 Purposes : Covering Hims

10、elf.153.4 Purposes : Announcing Himself .16Part . Conclusion.18Bibliography.20Acknowledgements .21Part I. Introduction1.1 Introduction of William Shakespeare and his OthelloWilliam Shakespeare was an English poet and playwright, widely regarded as the greatest writer in the English language and the

11、world's pre-eminent dramatist（cf: Greenblatt, 2005: 11）. He could see the whole picture of humanity and recreate it so that men of any kind, country, creed, and generation can understand the drama. His command of language, character, and dramatic structure is unfailing. The characters, who give

12、life to and take life from the varied and distinctive utterance, are extraordinarily contradictory. Each situation, each character has its appropriate speech（cf: Zhang, 2008: 35）. It can be deduced that each character in Shakespeares play speaks differently from each other he is endowed with unique

13、personality and it influences his speech also.William Shakespeares Othello is a play that mostly revolves around jealousy, trust and revenge, and it is generally recognized that Iago, who tricked everyone in the play, is a ruffian without any good. Through his words and actions, which are carefully

14、thought out, Iago is able to manipulate others for his personal benefits. In addition to that, he also manipulates people to get him closer to his goals he is the character in Othello who advances the plot. In the play, Iago is the most foxy role. He uses people in order to achieve the goals for his

15、 own benefits. And what is it that enables him to do so? The way he speaks. Shakespeare thought out Iagos acts carefully and made Iago the most purposeful role in Othello. When Iago says hello to Roderigo, he wants money. When Iago goes to Desdemona, he is thinking of how to make Othello go mad. Whe

16、n he speaks to Othello, he actually poisons his mind. Now, Iago becomes the main character. By analyzing his purposes we can know that his speeches are also said to achieve his goals. We should embody our translation works with these purposes in order to represent the audience a human with blood and

17、 flesh, since a role in drama is indeed a human being, not a doll. Iago speaks in accordance with the speaking object, purpose, plot and situation. Thereby, words in the translating works should also be carefully chosen so that they can give us a vivid image of Iago who has unique villainous charact

18、eristics.There are a lot of essays on narration, criticism, and analysis about Shakespeare. However, this essay is different, because the essay is written from a psychological point of view, and it focuses on the inner world of the characters in the drama Othello, especially Iago, who is generally r

19、egarded as the most villainous role. And it is crucial in this paper to answer the question: how do we translate the dialogue into Chinese with proper words and sentence structure while the inner world of the roles influences almost their every act, including the speeches, as Freuds idea is that unc

20、onscious and irrational forces controlled most of our actions, and he regarded these as being “repressed” and unconscious, although presumably they continue to influence the person, guiding behavior in all major life contexts（cf: Lazarus Monat）. There is no question that unconsciousness may also inf

21、luence speeches.1.2 Relevant Theories of Literary TranslationZhu Shenghao is one of the pioneers who devoted their life to the translation of Shakespeares works in China (cf: He, 2008). Zhu wrote in 1944: “My principle of translation is to keep the spirit of the original works.” So are his works. In

22、 Zhus years, the condition was hard, but he still worked hard to put Shakespeares dramas into Chinese. His attitude was serious. Before starting the translation, he took a year to collect different editions of the original works and translation works, biography of Shakespeare and essays on analyzing

23、 Shakespeare so as to make sure that his understanding was good enough to translate the great writers works. Zhus translation is fluent and close to the tongue. When translating, Zhu regarded himself as a reader and tried his best to re-translate those sentences which were hard to understand (cf: He

24、, 2008). According to Yan Fus translating principles, fidelity, readability (also called fluency) and elegance are crucial. The domestic translators regard Yan Fus theory important, and we can find that Zhus works is quite good when judge them with Yans principles. His translation is sticking to the

25、se principles and reaches the requirement of fidelity, readability and elegance. However, his works are not perfect if we measure them with Tytlers theory. In Essay on the Principles of Translation, Alexander Fraser Tytler made clear his point: I would therefore describe a good translation to be, th

26、at, in which the merit of the original work is so completely transfused into another language, as to be as distinctly apprehended, and as strongly felt, by a native of the country to which that language belongs, as it is by those who speak the language of the original work. According to Tytler, ther

27、e are three principles of translation:1. The translation work should contain all meanings of the original text.Word is a unit of expression that native speakers may recognize by intuition, whether it is expressed in spoken or written form (cf: Hu, 2007: 55), that is to say word is the carrier of mea

28、ning. When a translator, say an English-Chinese translator, needs to put drama into Chinese, he has to know what exactly Drama is in the western country hence to find the proper Chinese word 戲劇. Word is idea in mind, and quite often a word contains more than one meaning. Then it comes to the second

29、principle of Tytlers theory. 2. The translation work should be understood the same by both the original language readers and the target language readers. For example, Iago said to Desdemona, “What is your pleasure, madam (cf: Shakespeare, 1999: 252)?” Pleasure can mean a lot in Chinese, such as 愉快，樂

30、事， 意志 or even 愿望. Zhu translated this sentence into “夫人，您有什么吩咐 (ibid: 412)?” Zhus skillful translation ability enables him to deal with the word pleasure validly, and “吩咐” is understood just the same by the target language readers as pleasure in the western world. However, Tytler was not satisfied y

31、et. He came up with the third principle.3. The translation work should evoke the readers emotion just as the original one does.One of the important objects of drama is to evoke the readers or the audiences emotions and make them into the plot. Anger, pity, shame and the like are all human emotions.

32、When translating, the translator has to make the target language evoke the same emotions or at least makes it feel the same way as the original language. In drama, which is advanced by dialogues, this point seems to be the most important one. It is hard to keep the style of the original language, an

33、d even harder to transfer its emotions. However, in order to keep the aesthetics of drama, especially Shakespeares dramas, we should overcome the difficulties and have our translation met Tytlers third standard.1.3 Relevant Theories of Psychoanalysis Translation relates to human communication which

34、is an aspect of the study in the field of psychology. As a result, translation is, indeed, closely relating to the mind (cf: Chuo, 2008:61). Since emotion is also the activity of mind, it is quite useful to know some relevant theory of psychology, especially the theory of psychoanalysis, which was f

35、ounded by Freud. According to Alfred Adler, one of the greatest psychoanalysts, a persons lifestyle, habits, and behavior are all closely relating to his purposes. If we have no purpose in mind, we have no thought or activity (cf: Adler, 2004: 242). Now, we may attach importance to the purposes of t

36、he characters in drama, for dialogues, the soul of drama, are based on purposes.According to Freud, three layers are there in human beings mind: consciousness, pre-consciousness, and sub-consciousness. Consciousness, which is motivated by pre-consciousness and sub-consciousness, is only the exterior

37、 of mind activity that an object can know without any clew. Pre-consciousness is the part of mind activity that an object can learn when reminding of. While sub-consciousness is something that an object can hardly know about (cf: Freud, 2006: 57). He also said that consciousness is the result of pre

38、-consciousness and sub-consciousness (ibid: 142). In drama, though it is nearly impossible for us to know the characters sub-consciousness, we can learn their pre-consciousness, from their dialogues and the plot. As Lacan, who is also a great psychoanalyst, once said: unconsciousness, constructed by

39、 pre-consciousness and sub-consciousness, embodies with linguistic structure, which makes it further possible for a translator to figure out the pre-consciousness of characters. When the theory goes to the roles in drama, consciousness is their dialogues, and pre-consciousness is their purposes behi

40、nd the dialogues and the plot. When first reading the play, Othello, I could have a general idea of the plotIago uses almost every character in the drama to approach his purposes, but something that I could not learn is that why he is able to use them. After reading it several times, I know it nowhi

41、s dialogues are all serving his purposes in accordance with the pre-consciousness. Since pre-consciousness motivates consciousness, so Iagos purposes give birth to his dialogues. When translating, a translator should not jump over the analysis of Iagos pre-consciousness, and he should follow this pr

42、ocess, I would like to call it the Analysis-Translation Process: Analysis of the original language Knowledge of the roles pre-consciousness Choice of the proper words and sentence structure which convey the same purpose of the target language Work of the translational period. Part . Introduction of

43、Iago and his PurposesEveryone might think that Othello is a guy who easily believes in other people, but I deeply doubt about that, because he did not listen to Desdemona, his wife, or Cassio, who is signed by him personally. He has been manipulated by Iago and has totally been a puppet. So it is qu

44、ite strange if Othello is an ease believer: he seems to follow Iago only but none of the other characters in the drama, nor even himself. What makes me even surprise is that Roderigo, Cassio and Desdemona, who are not regarded as easy believers, also believe in Iagos expert utterance. Cassio thinks

45、that Iago gives him hope for his honor, and Desdemona asks Iago what is wrong with her husband. Iago must be an expert in persuading and communicating, otherwise he can never manipulate so many people. Iago is false-hearted, cunning and malicious, but he is acute to peoples mind. These characteristi

46、cs altogether make his speech quite different from its own when he speaking to different character, but quite similar to those speech of the other characters, because Iago knows that people are going to believe in the guy who speaks like them. In fact, Iago presents us his personality by his dialogu

47、es. “Were I the Moor, I would not be Iago: In following him, I follow but myself (cf: Shakespeare, 1999: 6).” Who had Othello and Desdemona met, who had Roderigo waken Brabantio up late at night, and who had Cassio and Montano hurt by Roderigo? Iago is the most active role in Othello. Iago is a lead

48、er in some way. However, his leadership is unusual. He pushes others rather than pulls them. Just like the desire deep in a persons un-consciousness and drives him to do whatever satisfy it. Another unique character of Iago is that, believe it or not, he never lies, but only covers. In page 2 and pa

49、ge 3 in Othello translated by Zhu and published in 1999, Iago persuaded Roderigo that he hates Othello in bones by demonstrating the facts and had Roderigo judged by himself. In page 9 of the same book, Iago shouted to Brabantio with rude words but no lies. In page 121 in that book, Iago did not lie

50、 when he was made to state about the fight during the night-guarded, but the facts without harming his personal benefits. In page 163, Iago said “I speak not yet of proof”, and he evoked Othellos envy towards Desdemona and Cassio by “wear your eye thus, not jealous nor secure”. Iago perfects his evi

51、l trap by covering and speaking out his suspicion without lying. He only gives out part of the facts which may lead to prejudice. We can know some other characters of Iago in details from his dialogues. “The Moor is of a free and open nature,That thinks men honest that but seem to be so,And will as

52、tenderly be led by the noseAs asses are (cf: Shakespeare, 1999: 63).”“If I can fasten but one cup upon him, With that which he hath drunk to-night already,Hell be as full of quarrel and offence As my young mistress dog (ibid: 105).”Iago has the potential of observing people, which enables him to kno

53、w other characters desire and week point so well that he can push them towards his final destination. “How poor are they that have not patience!What wound did ever heal but by degrees?Thou knowst we work by wit, and not by witchcraft; And wit depends on dilatory time (ibid: 134). ”From this dialogue

54、, we can see Iago is a cunning but patient guy. His Wit is indeed Trick in the publics eyes, and he said “wit depends on dilatory time” to show that he is going to wait no matter how long till it reaches a certain degree, when his Wit fully works. Then what is Iagos goal that his wit works for? I wo

55、uld like to say that he has two goals, which can all be worked out from the dialogues of him. The first one - he wants the position of lieutenant - is uncovered in page 2 (ibid: 2):“Three great ones of the city,In personal suit to make me his lieutenant, Off-cappd to him: and, by the faith of man, I

56、 know my price, I am worth no worse a place” This purpose grows from the want of name. Not like other characters in Othello who have already in the position of their own and are satisfied with it, Iago is not satisfied with his present position-his Moorships Ancient (ibid: 4). “And I must be be-leed

57、 and calmd by debitor and creditor (ibid: 3-4) .” said by Iago. This demonstrates that he wants the position of Cassio, and it is why that he firstly make Cassio involved in his plan. Then what is the reason for Iago that he sentenced Desdemona die at last, as he said to Othello “Do it not with pois

58、on, strangle her in her bed, even the bed she hath contaminated (ibid: 233) .” It is a matter of Iagos second goal. The second one he wants the revenge against Othello is uncovered by the following dialogue:“For I do suspect the lusty MoorHath leapd into my seat; the thought whereofDoth, like a poisonous mineral, gnaw my inwards; And nothing can or s