摘 要
本論文透過語料庫為基礎的方法探討專有名詞、代名詞和隱喻在戲劇/小說中的重要性，接著檢查的這些隱喻的翻譯方法。專有名詞刻劃著與他人不同的獨特性，它在英國國家語料庫中只出現一次（一次詞），但卻在頻率表中佔了一大相當部分（40％）；人稱代名詞比起其他代名詞在一個段落中執行指稱的作用更多；小說中的隱喻大多是在名詞而非動詞中發生，因為他們是真實的個體；此外，隱喻的翻譯基本上應該通篇一致，然後以適當的方法發展下去，而翻譯的導向應該由Dryden的以作者為中心逐步走向Tytler的以讀者為中心。
本研究所探討的是著名小說「歌劇魅影」，其精心設計之情節既迷人又懸疑。在研究起先，我們發現到小說中三位主角（即Erik、Christine和Raoul）在詞表中的頻率相當不均衡，似乎，以專有名詞出現的第一男主角Erik遭受到不平待遇——幾乎只有其他兩位主角一半的頻率，那在普通小說或戲劇中是不正常的。為了解決這個問題，我們加入有性別區分之代名詞「她」和「他」的頻率，但仍然不均衡。然而，在搜尋前述代名詞的指稱時，我們找到作為Erik隱喻的七個不同名字和一個Raoul的別稱。他們來自於作者及Christine對外界事物的實際體驗，形成「本體隱喻」。當這些不同名字的頻率加入，預期的小說中主角的頻率就回到了正常狀態。接著在後半段，我們檢驗這七個隱喻名字的翻譯。基本上，我們發現到他們有嚴重的不一致狀態，這意味著，譯者沒有注意到隱喻，只是繁體中文本在處理作者的意圖與讀者的認知上表現較好而已。
顯然只調查小說中外顯的專有名詞部分是不夠的，本研究進而以語料庫為基礎的方法（簡稱 CBA）調查隱性的代名詞和「化身假名的隱喻詞」，換言之，這些表達方式都是三位主角的化身；接著的隱喻翻譯研究也讓我們了解此類翻譯的處理方式。總之，從英文本身到跨語言的運作，我們對於這部小說有了更深入的理解。

Abstract
This thesis explores the significance of proper names, pronouns and metaphors in a drama or a novel through a corpus-based approach, and then examines methods used to translate the metaphors into Chinese. Proper names serve to distinguish us from other persons. Proper names or proper nouns also form a good proportion (40%) of a frequency list of items which occur once (hapax legomena) in the British National Corpus. Personal pronouns within a paragraph have a more important role in referring to people than relative pronouns. Novel metaphors involve more nouns than verbs, because they describe genuine identities. Furthermore, metaphorical translations should be consistent throughout a work and then be carefully crafted and developed. In addition, the translation orientation should move gradually from Dryden’s author-centered to Tytler’s reader-centered.
This research investigates the famous novel The Phantom of the Opera, whose well-designed plot makes the novel fascinating and suspenseful. In the first place, it is found that the frequencies of the names of the three main characters (Erik, Christine, and Raoul) in the wordlist are very imbalanced. It seems that the main male character, Erik, suffers from poor treatment with respect to the use of his proper name, which is almost half the frequency of the other two. It is certainly unusual in a novel or drama. To solve this problem, the frequencies of the gender-related pronouns “she” and “he” are added. The situation remains imbalanced. However, while searching for referents of the previous pronouns, we find seven different names as metaphoric expressions for Erik, and one for Raoul. They are initiated from the author’s and Christine’s experiences of physical objects and substances, which form “ontological metaphors.” When the frequencies of the various names are obtained, the frequencies of the main characters in the novel return to the expected proportion. Then in the latter part of this thesis, we examine the translations of these seven metaphorical names. A serious inconsistency is found, indicating that the translators were ignorant of the metaphors. The Wu’s Chinese text examined performs better in dealing with the author’s intention and the readers’ recognition than an equivalent text in Wang’s characters, however.
We demonstrate that it is not enough to investigate only the overt proper names in a novel. This research moves forward to explore other keywords such as pronouns and ‘pseudonyms as metaphoric expressions’ in terms of a corpus-based approach (CBA); these expressions are the incarnations of three main characters. The present research gives us a better understanding of some appropriate methods to conduct metaphorical translation. In conclusion, in terms of both the language in which it was written, and the cross-lingual manipulation, we acquire a better understanding of this novel.

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