语言学论文哪里有？本文的作者主要使用三个标准来研究翻译：翻译是否能够吸引读者的语言习惯，翻译是否能够从文化探索中吸引读者的愉悦，以及翻译是否能够在不损失戏剧效果的情况下本地化文化负载词。
Chapter I Introduction
1.2 Research method
This thesis pivots on Huangwu’s translations of Eugene O’Neill’s Beyond the Horizon, contrasting and highlighting the same characters both in the original script and in Huangwu’s translation. Focusing on these main characters, this author will do a thorough analysis both on dialogues and stage directions that has a close relationship with the centered characters. I你general, literariness is mainly demonstrated on stage directions, for this element of a play is not restricted by performability. Therefore, playwrights can take advantage of complicated sentences and giving more specific information on stage directions regardless of the risk of looking too complicated for readers. In order to emphasize the same characters between two scripts, this author will review O’Neill’s main characters, seeking a comprehensive image of each main character. Following this pattern, Huangwu’s rendition of those same characters will likewise be analyzed through the same filter. Next, this author will compare and contrast the two writers’ respective treatments of each character, examining the degree to which Huangwu’s translation have or have not realized dramatic language equivalence, further checking whether and how the translator has realized the dynamic balance between literariness and performability.
In detail, first of all, this author centers on communicative oriented factors in a translation, including reader’s language habits, readers’ aesthetic appreciation, and readers’ pleasure for cultural exploration, seeking to find out the relationship between literariness and stage directions. Focusing on culture-loaded words and reconstruction strategies, this author will analyze the relationship between stage directions and dialogues; there, reconstruction strategies of characterization should be fully expounded on, involving amplification, conversion, omission, and free translation.
Chapter III Literariness and Performability
3.1 Literariness features
Roman Jakobson, Russian formalist critic and theorist, coined the term literariness in 1921, subscribing to the idea that literariness was well embodied by textual properties. Imparted to literary characteristics, literariness exerted great influence on researching and studying literature. In the 1920s, this term frequently came to the vision of translators, however, there is no clear definition about its connotation; as a result, the process of developing the word literariness was inconsistent, especially with scholars’ misuse in different domains. Sometimes it was regarded as a simple word, but sometimes it was made to be a theoretical term. However, this inconsistency has helped scholars to enriched researches of this field, deepening its meaning accordingly.
Jakobson believed that literariness was something that was quantifiable. He focused on rhyme, meter, and repetition while studying literary works. Different from Jakobson, Rolf Zwaan, held that literariness was the product of applying a series of conventions. This idea centered on how literariness has impacted reader understanding of a narrative. Therefore, Zwaan’s theory of literariness pivoted on narrative comprehension. However, David Miall argued that literariness was an obsolete method to study texts with the change of time, he disapproved of both Jakobson’s and Zwaan’s perspectives, holding that literariness is created by a specific form of reading, established by three key components: a distinctive style, defamiliarization, and transformation of a normal feeling. Specifically, the concept literariness was often associated with poetry, however, as a peculiar existence in literary domain, play scripts should also conform to certain standards of literary works.
Chapter IV Balance between Literariness and Performability in Characterization
4.1 Literariness features and stage directions
In this section, centering on characterization, this author will look at the relationship between literariness features and stage directions from three aspects, explaining the functions of appearance depiction, scene design, and costume and expression on characterization. Based on these three facets, Huangwu’s translation of Eugene O’Neill’s Beyond the Horizon will be discussed.
4.1.1 Appearance depiction and characterizationof novels, who are willing to spend days or even longer to read, to taste, so as to understand the author’s description of characters’ appearance, behavior, mental state, personality, emotional state, and the given social background. In reality, because a drama is performed alive in a given place, therefore, the time and space are limited; during the performance, the audience is deprived of see characters’ lines in written language, being only able to listen to characters’ lines for once. As a result, in order to tell and perform a story to the audience successfully, clarity is very important. This feature appeals to translators to express clearly, so as to facilitate the audience understanding. Therefore, a dramatical translator has to create concise and vivid dialogues.
In the work Beyond the Horizon, O’Neill thoroughly depicts the appearance of a given character before he or she appears in the mind of the reader. With the unfolding of the story, the change of each character will be naturally reflected in their appearance. Therefore, by analyzing a character’s outward look, his or her inner contradictions or transformations will be revealed, offering a taste of each character’s personality characteristics, and inviting heightened appreciation for the beauty of character. In this play, the conflict mainly revolves around three important characters: Robert, Ruth, and Andrew.
Example 1
There is a touch of the poet about him expressed in his high forehead and wide, dark eyes. His features are delicate and refined, leaning to weakness in the mouth and chin (O’Neill, 2007).
他是个高高的、细长的青年人，二十三岁。饱满的前额和大而黑的眼睛带有一种诗人的神气。他的容貌清秀文雅，嘴和下巴的线条显出他意志薄弱 (Huangwu, 1985)。
4.2 Performability traits and dialogues
Drama translation plays a significant role in the field of translation. Catford (1991) believes that “translation is a work of language operation, that is, the process of replacing the text of one language with the text of another language”. However, drama, a special existence in literary domain, is not only the “art of appreciating”, but also the “art of expressing”. This means that drama also comprises a writing style dominated by oral English. However, the fact is, only after being refined carefully by dramatists, a play can be granted more artistic and aesthetic charm than daily language. Accordingly, drama has two characteristics: literariness and performability. Through in-depth study of drama and play script, Ying Ruocheng, a famous drama translator in China, believes that orality, clarity, actability, and individuality are the four important characteristics of drama translation.
4.2.1 The principle of clarity
Clarity is one of the essential features of dialogues in a play. The principle of clarity requires the lines of a character to be expressed clearly, allowing readers to get the target meaning in a short time. In other words, Ying Ruocheng believes that drama audience cannot appreciate a play like the audience of novels, who are willing to spend days or even longer to read, to taste, so as to understand the author’s description of characters’ appearance, behavior, mental state, personality, emotional state, and the given social background. In reality, because a drama is performed alive in a given place, therefore, the time and space are limited; during the performance, the audience is deprived of see characters’ lines in written language, being only able to listen to characters’ lines for once. As a result, in order to tell and perform a story to the audience successfully, clarity is very important. This feature appeals to translators to express clearly, so as to facilitate the audience understanding. Therefore, a dramatical translator has to create concise and vivid dialogues.
Chapter V Conclusion
5.1 Major findings
The concept of drama in literature refers to the script created for drama performance. From a more direct perspective, drama is a comprehensive art in which actors play roles and perform stories in public on the stage. Based on this distinctive feature, the shaping of character image has always been the focus of dramatists’ attention. Due to the existence of characters, wonderful stories can be performed even in an open space through the hint of actions and the use of stage cues. In fact, character is the core that stands between art and reality. The research and study about drama have never been stopped. With the development of economic globalization, countries all over the world have carried out in-depth exchanges in politics, culture, and other aspects. In this big social context, drama, a popular form of cultural exchange, has gradually aroused the interest of domestic translators and foreign language learners. Therefore, following the trend, a large number of translations of Eugene O’Neill’s plays have appeared in China, dating back to the 1930s. This thesis chooses Huangwu’s translation as a case study.
In the process of balancing the literariness feature and performable characteristics, Huangwu employs many translation methods, such as amplification, conversation, omission, and free translation. By comparing the given translation and the original text, this author discovers that Huangwu is closer to the translation strategy of domestication. And this feature is clearly manifested on his polishing of cultural related words. In the script of Beyond the Horizon, the word “Lord” has appeared five times in total. The author of this thesis mainly uses three standards to study the translation: whether the translation can appeal to reader’s language habits, whether the translation can appeal to readers’ pleasure from cultural exploration, and whether the translation can localize culture-loaded words without losing dramatic effects. By analyzing all the “Lord” in the original script and its different background context, Huangwu tries to adapt to target readers’ speaking habits. The typical one is the translation of “谢天谢地”. This polishing of this expression conforms to the slang of Chinese farmers.
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