解析当代埃及报纸漫画（节选）翻译

解析当代埃及报纸漫画（节选）翻译 外文翻译1 Econstructing a Contemporary Egyptian Newspaper Caricature(extract) Bahaa-Eddin MAZID South Valley University (Egypt) Introduction Journalese is a complex discourse genre which may be broken down into a large number of sub-genres, e.g., the headline, news stories, editorials, opinion columns, advertisements, obituaries, matrimonial columns, letters to the editor, horoscopes, and caricatures, to give only a partial list. Caricature, also referred to as comics or cartoons, has already established itself as a regular newspaper and magazine sub-genre; in fact, there are magazines entirely devoted to caricature — Punch is probably the most famous example. Caricatures usually aim at amusing the reader, illuminating public opinion, expressing shared symbolic consensus and concretizing abstract concepts (Morris, website). Press (1981) concludes that cartoons/ caricatures are low satire, ridiculing individuals and parties (77). Most caricatures contain an element of incongruity within or between schemata (Deckers & Buttram, 1990). A schema is "a cognitive structure for representing generic knowledge in memory." It represents "stereotypical concepts of objects, situations, and behavior sequences. Dinner at a restaurant is an example of a schema" (pp. 53-54). Deckers and Buttram (1990) identify two types of incongruity: (1) Within schema: when an actual event does not fit within the expected instantiation of the schema variable, and (2) Between schemata: when two activated schemata are opposite or incompatible with each other (p. 54). Resolution of the incongruity or incompatibility normally results in a perception of humor in a joke or a caricature. In spite of its popularity and cultural significance, caricature has not received adequate research attention; the focus has so far been on political cartoons from a content analysis perspective (Morris, Press, 1981). The present paper extends the application of semiotic analysis tools to the caricature discourse genre, although on a very narrow scale. [Woman: “Marry me, mister? Man: “No thank-you, I?m a vegetarian.”] Method The caricature text analyzed is taken from the second page of the March 2, 2000 issue of the Egyptian national daily newspaper Al-Akhbar („The News?) and it bears the signature of Amr Fahmi, a contemporary Egyptian caricaturist. The method used is semiopragmalinguistic analysis, one that addresses the semiotic, linguistic, and pragmatic aspects of the text. Pragmalinguistic analysis alone is not enough, because the text is made up of a verbal code and a nonverbal code. A semiotic analysis can accommodate anything that has meaning, anything that signifies: a word, a sound, a color, a smell, a photo, an illustration, a movement, a posture, or a gesture, and so on. Those signifiers belong to different semiotic codes, e.g., the linguistic code, the garment system, body language, traffic signals, to mention only few codes. A signifier does not function in isolation, but it does so in relation to other signifiers and within a code. The relations between signifiers may? be paradigmatic (i.e., selectional and vertical), or syntagmatic (i.e., combinational and horizontal). The relation between a signifier and its meaning (the signified), on the other hand, may be iconic (i.e., one of resemblance, e.g., a photograph), indexical (i.e., one of causal association, e.g., smoke and fire), or symbolic (i.e., arbitrary and conventional, e.g., a number). Analysis General The caricature text analyzed consists of a rectangular 5.5 x 8.5 cm double-lined frame separating it from the rest of the page. Within the frame, there is an illustration of a man and a woman, the man walking and the woman “posing,” and two dialogue balloons. The locale is not obvious; the line and dots at the bottom of the image indicate a ground, probably part of a street. Between the two figures, at the bottom, there is the signature of Amr Fahmi, the author of the text. The entire text is in black and white. Moreover, the illustrations are flat, or one-dimensional, and are obviously still, unlike a movie, for example. As regards other modality cues, the illustrations are somewhere between detailed and abstract. There are many details, but not as many as in a photograph. Below, a closer analysis of the visual and verbal components of the text is given. …… Conclusions In the previous sections, the sample caricature was shown to be intertextually related to recognizable discourse genres and to media and popular culture texts. It is also related to; in fact, it is a by-product of a sociocultural context which is urban Egypt at the end of the twentieth century. A more sociologically enlightened analysis would reveal the socioeconomic factors behind this depiction of woman in the caricature text. For example, it would argue that the unbearable conditions of marriage, the remarkable increase in the number of females, and other developments in the Egyptian society are responsible for this unfamiliar, entreating behavior of the woman in the caricature. However, the caricature may simply be a representation of a male conception or misconception about females (the caricaturist is a man)! It could also be a satire of male stereotypes or misconceptions of females. In fact, the caricature, like all texts, does not offer a single meaning that will be decoded in the same way by all readers. The analysis given above is not meant to be the final word on the content of caricature in general or of the present text in particular. It is only one possible reading of the text indicating the resiliency of sexism therein. More semiopragmalinguistic studies of contemporary Egyptian caricature are needed to validate the findings of the present study, to examine the presence or absence of sexism in this discourse genre: the degree and the depth of sexism, and the ways in which misogyny manifests itself and what those manifestations say about our collective consciousness and socio-cultural norms and values. 解析当代埃及报纸漫画(节选) 巴哈丁-埃丁 埃及南谷大学 一、简介 新闻文体是一个复杂的话语体裁，可分为众多流派，例如:标题、新闻报导、社论、意见栏、广告、讣告、婚姻栏目、读者来信、占星以及漫画。这里，我只是例举部分流派。漫画，也被称为漫画或卡通，其已将本身建设为一个规律性的报纸和杂志次类型;事实上，已有一些杂志完全致力于漫画杂志 - 《Punch》可能是最有名的例子。漫画通常旨在娱乐读者，启发民意，表达了象征性的共识及将抽象概念具体化(莫里斯，网站)。新闻界(1981)得出结论认为，卡通/漫画 某些个人以及政党(77)。 是低讽刺，旨在嘲笑 大多数漫画包含一个模式内部或之间的不协调元素(德克斯&比特勒姆，1990)。模式“表现记忆里的通用知识的认知结构。”它表现了对象、情况以及行为序列的陈腐观念。在餐厅用晚餐便是模式的一个例子”(53-54页)。德克斯和比特勒姆(1990年)确定了两个不协调类型: 1) 模式内:当一个实际情况不符合预期的模式变量实例，且 2)模式之间:当两个激活模式相反或互不兼容(P.54)。则不协调或者不兼容的决议通常会体现在一个感觉充满幽默效果的笑话或漫画。 尽管漫画已有一定的知名度和文化意义，但是它还没有得到充分的关注使其被研究;到目前为止漫画的焦点已从内容分析的观点到政治漫画(莫里斯，新闻界，1981)。本论文从符号学分析工具的应用扩展到了漫画的话语风格，尽管是在一个非常狭窄的规模。 该采用的方法是semiopragmalinguistic分析法，即针对文本的符号、语言、等方面进行分析的方法。当然，仅对文本进行分析是不够的，因为文本是由一个口头代码和一个非语言代码组成。一个符号学的分析，可以容纳任何有意义的标志，例如一个字、一个声音、一种颜色、一种气味、一张照片、一幅插图、一种运动、一种手势和一种姿态等等。这些符号能指属于不同的代码，例如，语言代码、服装信号、身体语言、交通信号或涉及几个代码。符号不能孤立起作用，但和其他形式的文本相互作用就能指代许多含义。它们之间的关系可能是显著的，或者横 向组合和所指之间的关系及其意义，另一方面，也可能是标志性的指向，或富有象征性的意义。 [女人:“和我结婚吧，先生,男:“不，谢谢，我是一个素食主义者。”] 二、方法 上述被分析的漫画文本来自2000年3月2日版的埃及国民日报《Al-Akhbar》 ('新闻')第二页，且它上面有埃及当代漫画家穆萨法赫米的签名。 脱离该页的其他页面内容，上述漫画文本可以具体作以下分析:由一个5.5 × 8.5厘米的矩形作为框架;框架内，有一个男人和一个女人画像，男子成行走姿势，而女子则正在摆姿势，漫画上方有两个两个对话框。区域设置不明显的路线，在图像的底部圆点表示的理由，可能是一个街道的一部分;在底部，有漫画坐着 的前面——穆萨法赫米。 整幅漫画以黑色和白色着色。此外，漫画以一维图像为载体，这点显然跟立体的电影有所不同。但漫画以其他方式表现出其蕴含的意义，使其介于具体和抽象直接。漫画有很多细节之处，不像许多照片仅有简单的画面。下面，将对这幅漫画表面及内在的含义作详细分析。 …… 在前面的章节中，上述作为例子漫画被证明是互文性与可识别的话语类型，是一种媒体和大众文化的文本表现形式。事实上，它是20世纪末埃及社会文化背景下的城市化的产物。如果从社会学角度分析，不难发现产生漫画中的所描述的女人背后的社会经济因素。例如，它会说，在难以忍受的婚姻状况下，单身女性人数明显增加，这在埃及社会发展中是个陌生的现象，尤其是漫画中的女子的行为。不过，漫画可能只是从一个男性的角度出发，一个对女性存在误解(是一个男人的漫画家)的代表～它也可能是男性对女性的刻板印象或误解的讽刺。事实上，漫画像所有文本，并没有提供一个单一的意义，因此，不同的读者有不同的理解。 上述分析并不意味着是对该漫画所有的理解，尤其是文本内容的最后一句话的理解。这只是其中一个，说明其中存在性别歧视可能的理解。当代埃及漫画更多以semiopragmalinguistic分析法来研究验证本研究的结果，研究漫画在存在性别歧视的情况下:其表现的程度和性别歧视的深度，以及如何从厌女症表现及这些表现谈谈我们的集体意识和社会文化规范和价值观念。