论文正文.docx
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论文正文.docx
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论文正文
OUTLINE
Abstract:
Keywords:
Ⅰ.Introduction
Ⅱ.UnderstandingofImageinPoetry
2.1ImageinChinesepoetry
2.2ImageinWesternPoetry
2.3ComparisonofImagewithIdeorealm
Ⅲ.MethodsofTranslatingImages
3.1PreservingtheImage
3.1.1PreservingtheImagewithoutAnnotation
3.1.2PreservingwithAnnotation
3.1.3DeformationandDisembodiment
3.2PreservingPartoftheImage
3.3ChangingtheImage
3.4OmittingtheImage
Ⅳ.Conclusion
Bibliography
中文标题、摘要、关键词
OntheImageofPoetryinTranslation
Auther:
DaiLijiangNumber:
06081142Tutor:
ZhangminZhuYanning
Abstract:
Imageryistherepresentationthroughlanguageofsensoryexperiences,thatis,imagerydescribesphysicalexperienceintermsofmentalexperience.Itplaysanimportantroleinpoeticcreation.However,differentculturalbackgroundsdecidethatthesameimagemayhavedifferentassociationandconnotationindifferentlanguages,orthesameideaisrepresentedbydifferentimages.Thisthesisrecommendsfourwaysofdealingwithimageryintranslating,thatis,preservingtheoriginalimages,partiallypreservingtheimages,changingimagesorabandoningthemaccordingtodifferentsituations.
Keywords:
image;poetrytranslation;preservingtheimage;preservingpartoftheimagechangingtheimage;omittingtheimage
I.Introduction
ChineseclassicalpoetryisthegemofChineseliterature,particularlynotedforitssimplicity,subtlenessanditsrichconnotation.Chinesepoetryworksitmagicbythewayituseswordstoevoke“images”thatconveyalotofmeaningonceyoulookintothem."Image"inpoetryreferstothewordsorthelanguageawriterusestoconveyaconcretementalimpression,creatinga"picture"inthereader'simaginationorsensoryinotherways.Fromliterarypointofview,an"image"isthebasicelementofapoem.Whilefromaestheticpointofview,animageisthesmallestunitofaestheticappreciation.Therefore,ArthurWaleysaidthatimageryisthesoulofpoetry.Tosomeextent,poetryisimagery.Therefore,translatingpoetryis,largely,translatingimagery.Thisarticlemainlydealswithtwostrategies(domesticationandforeignizinofimagerytranslation.Accordingly,somespecifictechniquesinaccordancewiththesetwostrategiesaretobeexpounded.Theanalysisshowsthatduetotheaimofretainingculturalflavorandcolorandfulfillingculturalcommunication,whilepreservingtheEnglishreaders'freedomofimagination,foreignizingtranslationshouldtakeprecedenceoverthedomesticationtosomeextent.Inconclusion,weaskthetranslatorstobeartwopointsinmind:
theawarenessandresponsibilitytopromotecross-culturecommunication,whichrequirestheirbestefforttoconveyboththeformandculturalconnotationofanimage;secondly,theirtrustintheirintendedreaders,givesthemthedynamicparticipationandfreedomintheappreciationofclassicalpoetry.
ⅡUnderstandingofImageinPoetry
Somepeoplesaythat"poetryiswhatislostintranslation",andsomesayitisuntranslatablebecauseit'simpossibletoreproducemeter,rhyme,etc.,butonefactiscertainthattranslationbetweenthetwolanguageshaveneverbeenstopped,especiallyinthe20century,translationofpoetrybetweenthetwolanguagesincreasedgreatlybothinquantityandinquality.Inthe1920s,imagismwasestablishedintheAmericaandBritishpoetrycircle.SincethentranslationofChinesepoemsbecameatrendintheWest.
Besides,manytranslatedChinesepoemsandcommentarieswerepublishedonPoetry,whichisamainfieldofimagists.(ZhuHui,1996:
16-17)WhiletranslatingorthroughreadingtranslationsofChinesepoems,thewesternpoetstriedtoimitateordrawinspirationfromthemandcreatedmanyfreshanduniqueimages.
In1915,EzraPoundpublishedhisImagistManifestoinPoetrywhichsetthemilestoneofImagism.Hedefined"image"as"theintellectualandemotionalcomplex",andheattachedgreatimportancetotheuseofimagesincomposing.
Inthemeantime,theChinesepoetsinorafterthe"May4Movement"alsobegantotranslateandlearnfromtheWest.HuShi(1891-1962)declaredhisagreementwiththeimagistswhenhewasstudyingintheU.S.from1910to1917.UponreturningtoChina,hebegantowriteinfreeverseandinthevernacular.WenYi-duo(1899-1946)hadatalkwithAmyLowellinMarch,1923andlaterwrotehislongpoemTheColorofAutumnwhichhadanobviousinfluencefromimagistJ.G.Fletcher.GuoMo-ro(1892-1978)isoneofthefoundersof"newpoetry"inChina.HedrewinspirationfromWaltWhitman(1819-1892)andcreatedhisGoddess.OtherpoetslikeXuZhi-mo(1897-1931),TianHan(1898-1968)arealsoinfluencedgreatlybythewesternimagists.
Theabovediscussionistoprovethatpoetrycanbetranslatedthoughtherearestillmanythingstobedesired.ButonefactiscertainthatthroughthetranslationbetweenChineseandEnglishpoetry,peoplestarttounderstandeachothermoreandmoreandthismovementhomeandabroadcertainlypromotestheprosperityofpoetryonthewhole.
Translationofonepoetryintoanotherinevitablywillhavetoconfrontthedifferencesofmeters,rhymesandform,butthepresentthesisonlyfocusesonimagesinthetwopoetry.Chinesepoemsarerichinimagery,thereforetranslationofimagesbecomestheessentialpartofthistask.
2.1ImageinChinesePoetry
Theword"image"inChineseandEnglishallrevealsthecloserelationshipbetweenthesubjectiveworldandobjectiveworld.Itformsinthebrainofhumanbeingsandembodiesitselfinobjectsorspecificideas.Imageisoneofthemostimportantcomponentsinpoetry.Itisthecentralpartforreaderstounderstand.ImagefirstlyappearedintheAppendedStatements(《系辞》),acommentaryofBookofChanges(《周易》),whichisthoughttobeaphilosophicalbookinthePre-Qintimes,reflectingtheancientpeople'scomprehensionaboutimages.Thestatementsarefrequentlycitedinliterarythoughtslikethis:
子曰:
“书不尽言,言不尽意。
”然则圣人之意,其不可见乎?
子曰:
“圣人立象以尽意,设卦以尽情伪,系辞焉以尽其言。
”
Hesaid,“Whatiswrittendoesnotgivethefullnessofwhatis/wassaid(yan);whatis/wassaiddoesnotgivethefullnessoftheconceptinthemind(yi).”“Ifthisisso,thendoesitmeanthattheconceptsinthemindsoftheSagescannotbeperceived?
"Hesaid,"TheSagesestablishedtheimages(xiang)istogivethefullnessoftheconceptsintheirminds,andtheysetupthehexagramstogivethefullnessofwhatistrueandfalseinappendedstatements(XiCi)togivetheasituation(qing);tothesetheyfullnessofwhatwassaid..."(Owen,1985:
31)Thispassagereflectsthephilosopherunderstandingabouttherelationshipamong"yi"(theconceptinthemind),"xiang"(image)and"yan"(whatis/wassaid).Fromtheliterarypointofview,especiallyinpoetry,"images"aretheobjectsinnatureorothersocialactivitiesrelatingtohumanbeingswhichconstitutematerialsofthought;"yi"(theconceptinthemind)isthecontentofthought,includingsubjectiveideology,conceptandconsciousness."Yan"(whatis/wassaid)istheresultofthoughtandmanifestationinwrittenform.Aswecanseehere,imageisthecombinationofthesubjectivemeaningandtheobjectiveobject.Imagescomeintobeingwhenapersonattacheshisownsentimentstotheouterobjects.Inotherwords,heturnstothenaturefortheoutpouringandexpressionofhisinnerfeelings.Forinstance,originally,"moon"ismerelyakindofnaturalobjectwhichhasnothingtodowithhumanfeelings,butinliteraryworks,"moon"isoftenendowedwithspecialmeaningsbymenofletters.InLiBai'sATranquilNight(《静夜思》),"Abed,Iseeasilverlight,wonderifit'sfrostaground.Lookingup,Ifindthemoonbright;bowing,inhomesicknessI'mdrowned."“床前明月光,疑是地上霜。
举头望明月,低头思故乡”,here"moon"notonlyrepresentsthenaturalobject,butalsobearsthepoet'sfeelingsofhomesickness.Theword"image"wasfirstlyusedasacompoundwordintheBookofLunheng(《论衡》)byWangChong(王充)intheEasternHanDynasty.WangChongconcludedtheprincipleof"givingtheconceptsinthemindintheformofimages"(立意于象),whichactuallyistheextensionanddevelopmentof"theSagesestablishedtheimages(xiang)togivethefullnessoftheconceptsintheirmind"(圣人立象以尽意)intheBookofChanges(《周易》).Fromthis,wefindtheetymologicalfoundationforthedefinitionof"image".IntheElucidationofImage(《明象》),anotherphilosophicalbookwrittenbyWangBi(王弼226-249)heelucidatedtherelationshipamong"yi","xiang","yan"asfollowing:
犬象者,出意者也;言者,明象者也。
尽意莫若象,尽象莫若言。
言生于象,故可寻言以观象;象生于意,故可寻象以观意,意以象尽,象以言著。
Theimageiswhatbringsoutconcept;languageiswhatclarifiestheimage.Nothingcanequallanguageingivingthefullnessofimage.Languagewasbornofimage,thusweseekinlanguageinordertoobservetheconcept.Conceptisfullygiveninimage;imageisovertinlanguage.(Owen,1985:
34)Thisstatementfurtherexplainsthecloseconnectionamong"yi","xiang",and"yan".Theimagerepresentsconceptinthemind;languageclarifiesandexplainsimage.Thethreeintertwinedwitheachothertobringouttheimage.Ifwordscan'texpressthoughtcompletely,theycanneverthelessprovefullyadequatetotherepresentationofanimage.(Yu,1987:
41)However,itwasuntilLiuXiewhousedthetermyixiangdirectlyforthefirsttimeinthedescriptionofliterarycreation,especiallyinpoetryinhisfamousbookaDragonwithaLiteraryMind(《文心雕龙》).Inthechapterof"Imagination"(《神思》),hementionedtheimageinthisway:
"writeinaccordancewiththerulesofprosodyandmorphology,andtheuniquelydiscerningcarpenterwieldhisaxwithhiseyetotheimage"(寻声律而定墨,独照之匠,窥意象而运斤).Liuhascomparedpoetrywritingtotheworkofcarpenterwhochoosessuitabletemplateandmaterialstomakeacompleteproduct.Whencr
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