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从语言学视角看莎剧汉译中的“亦步亦趋” = Dance-to-tune" in Chinese translations of Shakespeare’s plays:A linguistic perspective / 陈国华, 段素萍
// Foreign Language Teaching and Research vol. 48, no. 6 (2016).
// 外语教学与研究 vol. 48, no. 6 (2016). 866-879 p. Concerning word order in Shakespeare’s plays,there are two diametrically opposite principles.Zhu Shenghao declares that he is ready to completely alter the structure of the source text in order to achieve clarity and fluency in the target text,while Bian Zhilin argues for the principle of"dance-to-tune"and line-for-line translation.There is little research,however,about how to deal with word order variations in translating Shakespeare’s plays.Adopting a linguistic perspective in studying three types of unconventional order of clause elements in Shakespeare’s dramatic text and their Chinese translations,the authors of this article have found that Zhu did apply his principle in his translation while Bian actually failed to dance to the tune of Shakespeare’s original texts.The only translator that has strictly adhered to the principle of danceto-tune is Peng Jingxi.The article proposes that when both conventional and unconventional orders of clause elements are available in both source and target languages,if the playwright has adopted the latter for a particular rhetorical or dramatic effect,the translator should try his or her best to dance to tune in order to achieve a similar effect in the target language
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