专著推荐 | 系统功能语言学翻译研究应用：王博、马园艺2020年劳特利奇出版社新书

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系统功能语言学的翻译研究应用

Lao She's Teahouse and Its Two English Translations：Exploring Chinese Drama Translation with Systemic Functional Linguistics

￥498元

Translating Tagore's Stray Birds into Chinese: Applying Systemic Functional Linguistics to Chinese Poetry Translation

￥488元 （2020年11月上架，预售）

中文梗概：

在这两本专著中，我们尝试将系统功能语言学应用于翻译研究。通过书中构建的分析框架，我们比较了不同译者在翻译过程中做出的选择，并从元功能翻译对等（translation equivalence）和翻译转换（translation shift）的角度对译文进行了分析。Lao She’s Teahouse and Its Two English Translations以老舍的剧本《茶馆》及John Howard-Gibbon和英若诚的英文译本为数据，从人际功能（interpersonal metafunction）、语篇功能（textual metafunction）和逻辑功能（logical metafunction）的角度分析了《茶馆》及英文译文中的三种文本（即戏剧对白、戏剧独白与舞台提示）。Translating Tagore’s Stray Birds into Chinese一书依据系统功能语言学中的层次化（stratification）维度构建了分析框架，从音系（phonology）、字系（graphology）、词汇语法（lexicogrammar）及语境(context)视角对泰戈尔的英文《飞鸟集》以及郑振铎、姚华、陆晋德与冯唐的四种中文译本进行了分析。

作者简介

——照片摄影：Xian

王博、马园艺毕业于香港理工大学，研究方向包括系统功能语言学、话语分析、翻译研究及语言描述。二人已合作发表30余篇论文及专著章节，其它即将出版的专著包括Systemic Functional Translation Studies: Theoretical Insights and New Directions（Equinox）、Systemic Functional Insights on Language and Linguistics（与 Christian M.I.M. Matthiessen和Isaac N. Mwinlaaru合著，Springer）。王博现任中山大学副研究员，马园艺现任广东科学技术职业学院讲师。

01

老舍《茶馆》及其两个英译本

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目录

Foreword

List of Figures

List of Tables

Abbreviations and Symbols

Abbreviations for Interlinear Glossing

Acknowledgements

Preface

Chapter 1 Mapping and Approaching Systemic Functional Linguistics and Translation

1.1 Systemic Functional Linguistics and Translation

1.1.1 Early Studies before the 1970s

1.1.2 Studies from the 1970s to the Millennium

1.1.3 Studies after the Millennium

1.2 Three Kinds of Text in Lao She’s Teahouse

1.3 Analytical Framework and Data Size

Chapter 2 Re-enacting Interpersonal Meaning in Dramatic Dialogue

2.1 A Description of Mood in Systemic Functional Terms

2.2 Analysis of Mood in Dramatic Dialogue

2.2.1 A Quantitative Profile of Mood Distribution in Dramatic Dialogue

2.2.2 Mood Analysis of Pock-Mark Liu’s Lines

2.2.3 Mood Analysis of Wang Lifa’s Lines

2.2.4 Mood Analysis of Master Chang’s Lines

2.2.5 Mood Analysis of Qin Zhongyi’s Lines

2.2.6 Mood Analysis of Kang Liu’s Lines

2.2.7 Mood Analysis of Master Song’s Lines

2.2.8 Mood Analysis of Eunuch Pang’s Lines

2.2.9 Mood Analysis of Tang the Oracle’s Lines

2.2.10 Mood Analysis of Erdez’s Lines

2.2.11 Mood Analysis of Song Enz and Wu Xiangz’s Lines

2.2.12 Mood Analysis of Li San’s Lines

2.2.13 Analysis of Moodtags

2.3 Mood Shift in Dramatic Dialogue

2.4 Summary

Chapter 3 Re-presenting Textual Meaning in Dramatic Monologue

3.1 A Description of Theme in Systemic Functional Terms

3.2 Analysis of Theme in Dramatic Monologue

3.2.1 Analysis of Textual Theme in Dramatic Monologue

3.2.2 Analysis of Interpersonal Theme in Dramatic Monologue

3.2.3 Analysis of Topical Theme in Dramatic Monologue

3.3 Theme Shift in Dramatic Monologue

3.3.1 Theme Addition in Dramatic Monologue

3.3.2 Theme Omission in Dramatic Monologue

3.3.3 Theme Substitution in Dramatic Monologue

3.4 Summary

Chapter 4 Re-construing Logical Meaning in Stage Direction

4.1 A Description of Taxis and Logico-semantic Type in Systemic Functional Terms

4.2 Analysis of Taxis and Logico-semantic Type in Stage Direction

4.3 Tactic and Logico-semantic Type Shift in Stage Direction

4.3.1 Tactic Shift in Stage Direction

4.3.2 Logico-semantic Type Shift in Stage Direction

4.4 Summary

Chapter 5 Analyzing Field, Tenor, and Mode: Perspectives from Context

5.1 The Three Contextual Parameters in Systemic Functional Linguistics

5.2 Contextual Analysis of Dramatic Dialogue

5.2.1 Field of Dramatic Dialogue

5.2.2 Tenor of Dramatic Dialogue

5.2.2.1 Tenor between the Playwright/Translators and the Readers

5.2.2.2 Tenor between Characters in the Play

5.2.3 Mode of Dramatic Dialogue

5.3 Contextual Analysis of Dramatic Monologue

5.3.1 Field of Dramatic Monologue

5.3.2 Tenor of Dramatic Monologue

5.3.3 Mode of Dramatic Monologue

5.4 Contextual Analysis of Stage Direction

5.4.1 Field of Stage Direction

5.4.2 Tenor of Stage Direction

5.4.3 Mode of Stage Direction

Chapter 6 Conclusion: Towards a Systemic Functional Account of Drama Translation

6.1 Application of the Theoretical Framework in this Book

6.2 Significance of the Study

6.3 Some Thoughts for Future Work

References

Index

专家推荐语：

Juliane House, University of Hamburg & Hellenic American Univeristy

This book is a welcome addition to the literature on systemic functionally informed translation studies. It sets out to apply systemic functional linguistics to the analysis of two English translations of the Chinese playscript of Teahouse, which consists of three types of text: dramatic dialogue, dramatic monologue and stage direction. The authors have developed their own analytical framework for the linguistic analysis and comparison of the original and its translations. This analytical framework has proved to be adequate for explaining exactly how the translations of Teahouse function in their contexts of situation and their contexts of culture. The framework was shown to facilitate the close analysis of the choices made by the translators in the playscript’s three types of texts, i.e. choices in the systems of mood, theme, taxis and logico-semantic type.

The analytical system used by the authors also made it possible to identify, quantify and discuss the metafunctional translation shift. These shifts could be explained with reference to a crucial – although in non-linguistic circles often misunderstood and denigrated ­– notion in translation theory: Equivalence. To achieve equivalence in the face of typological differences between the language pair involved in the translations on hand, translators needed to conduct shifts on different linguistic levels and dimensions. Thanks to the analytic instrumentarium provided by systemic functional linguistics, it was possible to discover, name, classify and explain such translational shifts.

This is an excellent and innovative book which shows how useful systemic functional linguistics is in analyzing, comparing and evaluating translations. The framework proposed here can be fruitfully used with different language pairs by linguists and translation scholars across the world who are interested in linguistically analyzing translators’ choices and translators’ styles with the help of an approach most appropriate for translation studies.

The work presented in this book has also important implications for typological studies and investigations of translation universals.

I congratulate the two young translation scholars for their innovative work, and I trust that readers of this book will join me in this praise.

02

泰戈尔《飞鸟集》汉译研究

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目录

Foreword

Figures

Tables

Abbreviations and Symbols

Abbreviations for Interlinear Glossing

Acknowledgements

Preface

Chapter 1 Delineating the specificity of poetry translation

1.1 Understanding poetry

1.2 Translators’ perspectives on poetry translation

1.3 A survey of recent studies on poetry translation

Chapter 2 Demystifying translation as recreation of meaning through choice

2.1 Matthiessen’s conceptualization of translation

2.2 Stray Birds and its four Chinese translations

2.3 Analytical framework and data size

Chapter 3 Translation on the expression plane of language: Graphological and phonological choices

3.1 Analysis of graphological choices

3.2 Analysis of phonological choices

3.3 Summary

Chapter 4 Translation on the content plane of language: Lexicogrammatical choices

4.1 Analysis of Theme

4.2 Theme shift

4.3 Analysis of process type

4.4 Process type shift

4.5 Summary

Chapter 5 Contextual considerations in translation: Analyzing field, tenor, and mode

5.1 Contextual analysis of field

5.2 Contextual analysis of tenor

5.3 Contextual analysis of mode

5.4 Contextual analysis and translation shifts

5.5 Summary

Chapter 6 Conclusion: Exploring poetry translation with Systemic Functional Linguistics

6.1 Significance of the study

6.2 Future directions

References

Index

专家推荐语：

Erich Steiner, Saarland University, Saarbrücken

The translation of poetry has frequently been considered the most difficult – and many believe an impossible – challenge for the translator. It has sometimes been claimed that the only voices with any kind of authority on the issue are those of poets who engage in translating, or re-creating, a poetic piece of art. Unsurprisingly, then, when the translation of poetry is theorized and taught, it often happens in contexts of comparative literature, rather than of linguistics or translation studies, or outside of academia altogether. However, semiotics as the discipline of signs, and semiotically-inspired schools of linguistics and translation have over the past decades made significant, creative and novel contributions to the analysis and trans-creation of literary texts, including poetry. It is such a contribution that is offered to us here in Yuanyi Ma’s and Bo Wang’s Translating Tagore’s Stray Birds into Chinese. The authors apply their in-depth familiarity with a semiotically-grounded theory of language to a text that is trans-cultural in several respects, showing traces of Indian, English and Chinese contexts, and all of those across a significant time-span embodied in the four translations under consideration. What is offered to the reader in Yuanyi Ma’s and Bo Wang’s book is the joy fostered by and admiration for a significant trans-cultural work, yet combined with the realization that such works can be approached and enjoyed not only through empathy and intuition, but also through a theoretically-motivated methodology for reading and re-creating poetry. I feel privileged and happy to extend an invitation to prospective readers to embark on the exciting adventure promised by the poems offered here, by their translations and above all by the methodology provided for analyzing and enjoying them.

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