品特双关剧名的中文翻译及文化语境

2005年诺贝尔文学奖得主、英国当代戏剧家哈罗德·品特的作品向来以神秘怪诞和晦涩难懂著称,如冰山一般的表浅内深是品特创作的精髓,一语双关或一词多义是品特剧名的特点.从1970年台湾学者刘会梁最早翻译品特作品到2010年华明翻译的《品特戏剧集》在中国大陆第一次结集出版,在品特剧被译成中文的40年里,其双关剧名的中文翻译经历了由对字面的忠实翻译到对作品喻意深度的探寻再到对平面化直译的追求,从强调字面忠实品特的原作风格到更好地兼顾品特的双关和多义再到还原品特的原创简洁.本文以品特三部双关剧名的中文翻译及变化为例来探究中国的品特研究者们在文化语境的变迁中对品特作品的不同解读和诠释以及对品特的接受、认识和重新认识.

On Chinese Translation of the Punning Titles of Harold Pinter′s Plays and Influence of Cultural Contexts

Harold Pinter,a contemporary British dramatist and the 2005 Nobel Prize winner for literature,is noted for his enigma,mystery,obscurity and elusiveness.The iceberg-like shallow surface with inner depth is the very essence of Pinter′s literary creation.Punning or multimeaning titles are one of the features of his plays.From 1970 when Taiwanese scholar Liu Huiliang issued his earliest translation of Pinter′s works in China to the year 2010 when Hua Ming′s Harold Pinter′s Plays(the first set of assembled works of Harold Pinter)was published for the first time in mainland China,in the 40 years since Pinter has been translated into Chinese,Pinter′s punning titles have experienced many changes from the direct translation faithfully keeping to the titles′ literal meanings to the exploration of the metaphorical depth then to the pursuit of flat literal translation,from the faithful revealing Pinter′s original style to the better combination of his puns and multimeanings then to the return of Pinter′s originality and simplicity.The present paper sets to explore the acceptance of Pinter in China from the approach of the Chinese translation and the changes of three Pinter plays and the Chinese researchers′ acceptance,understanding and reunderstanding of Pinter and his plays under the influence of the changing cultural background in China.