毕业文论设计论中国古诗英译中意境的传达Word文档下载推荐.docx

毕业文论设计论中国古诗英译中意境的传达Word文档下载推荐.docx

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中国古典诗词翻译中的意境移植问题是一个相当难以探索的领域，其困难主要源于意境内涵本身的复杂性。

因此，本文第二章首先研究了意境在中国诗学中的起源与发展过程，区分了意象与意境：

意境指的是文学作品在其读者脑海中所引起的整体审美感应，而意象则指构成这一意境的具体的审美因素。

在这一区分的基础上，文章对意象根据其目的性作了分类，阐明了其美学特征。

意境由意象传达，但并非意象的简单叠加，因此意境的美学特征和意象的美学特征既有重叠之处，又不尽相同。

对中国古典诗歌的翻译，因此并不能仅仅停留在意象的翻译上，再现意境的美学特征才是重点，这也正是体现译者创造力的地方。

因此，文章第三章通过举例，详细阐述了在英译中国古典诗歌过程中对各种意境美的传达，主要包括动静美、空白美以及和谐美。

文章最后的个案分析对《春晓》的几个译文进行了从词到句，再到篇，以及从意象到意境的分析，指明了中国古典诗歌的翻译应重在把握总体意境，只有这样才能取得美学对等。

关键词：

中国古典诗歌翻译；

意境；

意象；

审美再现

Abstract

Inliteraturetranslation,poetrytranslationisalwaysmostchallengeable.The

translationofclassicalChinesepoetryhasalonghistoryduringwhichdifferent

translationschoolsareformed.Theyholddifferentperspectivestowardsthetranslation

ofclassicalChinesepoetry;

hence,takingadvantagesofdifferenttranslationstrategies

andtechniques.Sincethenatureofliteraturetranslationisthetransferenceofthe

aesthetictaste,thebeautyofideorealinasthesoulofclassicalChinesepoetryisthe

commongroundsoughtbydifferentschools.Thatformsthebasisofthispaper.

Inthefirstchapter,thepaperintroducestheargumentwhetherclassicalChinese

poetryistranslatable.Withthedevelopmentoftranslationtheoryandpractice,most

peopleholdthatthetranslationofclassicalChineseisnotonlypossiblebutalso

necessary.Andgradually,threeschools,namely,themetricalverseschool,thefreeverse

school,thecreativeschool,appears.Theyfocusondifferentaspects,buttheconveyance

ofthebeautyofthosepoemsremainsthesame.Thus,thebeautyofideoreahncanbea

commongroundforthem.

Duetothecomplexityofideorealminitselfitisdifficulttoexploreintherealmof

transferenceofideorealminclassicalChinesepoetry.Therefore,inchaptertwo,this

paperintroducestheoriginandthehistoricaldevelopmentofideorealininChinesepoetic

theories.Atsametime,differentiationsaremadebetweenideoreahnandimagerywhich

isthecarrierofideorealm.Tograsptheconnotationofimagerybetter,thispaperalso

classifiesimageryaccordingitspurpose,andpointsouttheaestheticfeatures.

Theaestheticfeaturesofideoreatmoverlapswiththatofimagery,notidentifying

withit.Thatisalsomadeclearinthepaper.Thus,thetranslationofclassicalChinese

poetryisnotmerelytranslationofimagery,thoughthesepoemsarefullofimages,but

theoverallideorealmwherethecreationoftranslatorslies.Thatiswhatchapterthree

illustratesbymanyexamples.Thatishighlightedinthecasestudyinchapterfour.

Keywords:

translationofclassicalpoetry;

ideorealm;

representationofaesthetictaste

Acknowledgements

IwishtoexpressmydeepestgratitudetoAssociateProfessorYiHonggen,mytutor,

whogavemeconsiderateandinspiringdirections,adviceandadmonishment,whichare

ofindispensablevaluetomyworkonthethesis.Iamparticularlyindebtedtohimforhis

conscientiouspatienceinreadingandimprovingthethesis}andhiskindencouragement

throughoutmythere-yeargraduatestudyprogram,withoutwhich,thisthesiswouldnot

exist.

IwouldliketothankallmyteachersinCCNUwhohavetaughtmepostgraduate

courses,towhomIowemuchofmyknowledgeintheEnglishlanguage,literature,and

culture.Theyhaveeitherbroadenedmyhorizonthroughtheirscholarlylectures.or

helpedmeineverypossibleway.

BesidesIamgratefultomyfamilyandfriendswhosesupport,helpandinspiration

allowedmetofocusonthethesiswithoutdistractionsandfinallycompletedthispaper

now

1.Introduction

1.1BackgroundoftheStudy

Poetryistheoldestliteratureform;

itisthecrystallizationofthetimes,historyand

culture.Poetrynotonlyrepresentstheextensivenessandprofoundnessofanation'

s

culture,butalso,bymeansofconciselanguage,combinesidealandreality,timeand

space,senseandsensibilityForanationwithahistoryof5000years,theclassical

ChinesepoetryisabrilliantgemintheChineseliteratureaswellasintheworld

literature.Earlyintheendofthe19}'

century,thewell-knownEnglishscholar-Herbert

G}GilesrenderedChineseTangPoemsintoEnglishverseswhichwerewellreceivedby

readersofEnglish.However,inthelonghistoryoftranslatingclassicalChinesepoetry

intoEnglish,thereisnotauniversallyacceptedtheoryforit.First,thereisaproblemof

translatability.ScholarslikeWenYduo（闻一多）holdthatpoetryisactually

untranslatable:

这到底是怎么一回事?

怎么中文的“浑金璞玉”，移到英文里来，就变成这样

的浅薄，这样的庸琐?

我说这毛病不在译者的手腕，是在他的眼光，就像这一类浑

然天成的名句，它的好处太玄妙了，太精微了，是禁不起翻译的。

你定要翻译它，

只有把它毁了完事!

譬如一朵五色的灵芝，长在龙爪似的老松根上，你一眼瞥见了，

很小心的把它采了下来，供在你的瓶子里，这一下可糟了!

从前的瑞彩，从前的仙

气，于今都变成了又干又瘪的黑菌。

你搔着头，只着急你供养的方法不对。

其实不

然，压根儿你就不该采它下来，采它就是毁它，“美”是碰不得的，一豁手它就毁

了。

HehasthesameopinionastheEnglishpoetrytranslatorJohnDenham

doe}Poetryisofsosubtleaspirit,山atinthepouringoutofonelanguageintoanother,

itwillevaporate.

Then,therearedifferentschoolsamongthosewhoclaimtranslatabilityofpoetry.

Thethreemajorschoolsaremetricalverseschool}freeschoolandcreativeschool.

Themetricalverseschoolpaysspecialattentiontothemeterandrhymescheme.Its

representativesincludeHebertCxGiles}JohnTuner,W.J.Fletcherandthewell-known

ChinesetranslatorXuYuanchong（许渊冲）.Xuisnotonlyatranslatorbutalsoatheorist.

HehasrenderedmanypoemsaswellasCipoemsandQupoemsintoEnglishand

French.Hisversionsrhymenaturally.Bothhispracticeandtheorywerehighlypraised

byQianZhongshu（钱钟书）.QianoncetalkedaboutXu'

stwobook}ArtofTranslation

（《翻译的艺术》）andTheEnglishVersionsof300TangPoems（《英译唐诗300首》）

that“thetwobooksarecomplementaryasfeaturestothewingsofabirdorthestarsand

themoonaddradianceandbeautytoeachotherinthesky（二书如羽翼之相辅，星月之

交辉）"

.MuchofXu'

stheoryconcerningthetranslationofpoetry,suchas"

threebeauties

（三美论），，and"

exploitingtheadvantagesofthetargetlanguagetothefull（发挥译语优

势论）”，isgraduallyaccepted勿moreandmorescholars.

Thefreeschooltranslatespoemsintofreeverseorprose.Theyfocusmoreonthe

spiritofthepoem.Theyholdthatrhymeinthetranslatedversionwilldefinitelyimpair

themeaningoftheoriginal;

hence,thegoodtasteofthepoemislostintranslation.Army

Lowell,ArthurWaley，WitterBynnerandthefamousdomestictranslator-Weng

Xianliang（翁显良）aretherepresentatives.Wengoncesaid,"

Thetranslationofapoemis

notmerelyacopyofit.Whetheritresemblestheoriginalornotliesinthespirit,notin

theappearance二。

Furthermore,thetranslationshouldnotsubjecttotherestraintofthe

traditionalform.Itmakesnodifferencewhetheritisrhymedanddividedintolines.Itis

quitefree.（再现绝不是临摹，似或不似，在神不在貌……更不必受传统形式的束缚，

押韵不押韵，分行不分行，一概无所谓，岂不自由得很?

）’’（翁显良，1985:

1）

TherepresentativesofcreativeschoolareEzraPound,ArthurWaley,WitterBynner

andKennethRexroth.Thisschooloverlapswiththefreeschool.Thedifferenceliesin

thatthecreativeschoolalsoputspoemsintofreeverse,buttheylayparticularemphasis

ontheexpressionofaestheticperceptionoftheChinesepoetrywhichisusually

subjective.Asaresult,sometranslatedversionsofthisschoolarenotregardedas

translationbutcreativeworkinsomeimportantpoe勺anthology.

1.2SignificanceoftheStudy

Sinceonecannotunderstandallthelanguagesintheworld,poetryshouldbe

translated.AsfortheEnglishtranslationoftheclassicalChinesepoetry,althoughthere

aregenerallythreeschools,whenweputtheirdifferencesaside,wecanfindthecommon

ground-theconveyanceofthebeautyofthepoetry.ThebeautyofclassicalChinese

poetryliesinthecreationofideorealm.IdeorealmisthesoulofclassicalChinesepoetry.

Itfusesthefeelingsofthepoetandthesettingofthepoem,leavingboundlessspacefor

thereadertoexplore.Inthisway,thereadercangointothepoet'

srealmthroughthe

concreteimagesinthepoem.Manypoetrytranslatorshaveattachedgreatimportanceto

theideorealinofthepoetry.LinYutang（林语堂）oncesaid,"

it（poetrytranslation）is

self-evidentthatideorealmisutmostimportant.（意境第一，自不必说。

）’’（林语堂，

1986:

53）Inhis"

threebeauties"

theory,XuYuanchongalsosaid,"

intranslatingapoem,

thereproductionofthebeautyofmeaning（ideorealm）alwayscomesfirst.（在译诗时，传

达原诗意美是最重要的，是第一位的。

）’’（许渊冲，2006:

9）Onlywhenareadercan

appreciatetheideorealinoftheclassicalChinesepoetry,canheenjoythebeautyofthem.

Forthesamereason,wecanalsoholdthereproductionofideorealmasthecriteriafor

thetranslationofclassicalChinesepoetry.

AlthoughmanytranslatorsknowtheimportanceofideorealmforclassicalChinese

poetry,thereisnotmuchsystematicresearchonit.Thispaperwillmakeatentativeprobe

intothisrespect.

1.3StructureoftheThesis

Thispaperconsistsoffourchapters.Chapter1isanintroductionofthebackground

andthesignificanceofthestudy;

Chapter2,thetheoryofideorealm,includingits

historicaldevelopmentanditscomponentswithaestheticfeaturesillustrated;

Chapter3,

theaestheticfeaturesofideorealmandthetransferenceofthesefeaturesinthetranslation

Chapter4,acasestudy;

Chapter5,conclusion.

2.TheoryofIdeorealm

2.1OriginandDevelopmentoftheTheoryofIdeorealm

Ideorealinisanimportantconcept