Abstract:

As a remarkable stylistic marker, hendiadys in Shakespeare’s plays usually elevates discourse and blurs its logic, however it is most congenial to Shakespeare’s purposes as he explored problematic depths of thought and feeling. Hendiadys derives its effect from its deviation from normal coordination patterns. More than a rhetorical device, hendiadys is an impressive cognitive method, however to date few studies have focused on hendiadys. With strong explanatory power, Conceptual Blending Theory (CBT) has been applied to rhetoric and translation studies in recent years. With the aim of decoding hendiadys’s semantic complexity, this paper applies Conceptual Blending Theory to hendiadys translation strategies. This paper takes Shakespeare’s plays and their cultural schemata as STS, Chinese expressions and its cultural schemata as TRS and the chosen Chinese versions (Zhu Shenghao, Liang Shiqiu, Sun Dayu and Bian Zhilin) as BTS. Then, based on four Chinese versions of Shakespeare’s plays, drawing from features of Shakespeare’s hendiadys, CBT and taking various projection methods into consideration, this paper suggests two translation strategies, i.e., semi-correspondence projection strategy and non-correspondence projection strategy, thus offering a new technique to research rhetorical devices in Shakespeare’s plays and corresponding translation strategies.

Keywords: Shakespeare’s plays; hendiadys; Conceptual Blending Theory; translation strategy

摘要：

重言是莎剧中一种较为特别的表达式,不仅是一种修辞手段,也是一种认知方式。重言形义分离,语义间看似并列,实则不然。莎翁用其制造歧义,折射剧中人物内心的不安、人性的复杂,看似和谐的人物关系,实则分崩离析。国内学界对莎剧中的重言少有关注,研究重言修辞有助于更好地认识莎翁悲剧的语言特色。本文以概念整合为视角,探讨朱生豪、梁实秋、孙大雨和卞之琳的译本对重言修辞的处理,尝试提出莎剧重言的两大翻译策略：半对应投射法和无对应投射整合法,以期为莎剧修辞及其汉译研究开辟一条新路径。

关键词: 莎士比亚戏剧, 重言, 概念整合, 翻译策略