从模糊美学的角度论古诗意境的英译

发布时间：2018-03-07 13:49

本文选题：中国古典诗歌　切入点：意境　出处：《西安电子科技大学》2008年硕士论文　论文类型：学位论文

【摘要】： 古典诗词是中国文学的最重大的成就之一,也是世界文学宝库里一颗璀璨的明珠。而意境在中国古典诗学中是重要而独特的概念,一直被视为中国古典诗词的灵魂,是中国古典诗词美的载体。因此,从很大程度上来说,中国古典诗词的翻译问题就是如何转换其意境的问题。尽管中外许多学者和翻译家对此作了大量的实践和理论工作,翻译了许多好的作品并提出了许多宝贵的见解,然而由于意境内涵本身的复杂性,古典诗词翻译中的意境翻译问题是一个很重要但相当难以探索的领域,多数关于意境翻译的讨论都是经验之谈,很不充分,缺乏必要的理论指导。在现阶段,几乎每一个讨论古典诗词翻译的人都会谈到意境,但对于意境究竟是什么,还缺乏一个明确统一的认识。因此,目前对意境翻译问题的讨论呈现一种仁者见仁,智者见智的局面。通过对中外意境概念的初步然而系统的探讨,本文指出意境是情景交融的艺术形象和它所引发的想象的形象的总和。意境创造的实质并不仅仅在于情景交融,更在于创造“象外之象”,即境界,能够把读者带入一个广阔的遐想空间。因此,意境实际上是由作者和读者共同完成的。读者的主体性在意境创造过程中得到了充分体现。美学是评价文学及其翻译价值的重要方法。没有美,诗歌也就不复存在。中国古典诗词翻译从这个角度来看,就是如何在翻译过程中尽量保持其意境美。模糊美学认为开放性和不确定性,即模糊性是所有文学文本的本质特征。模糊性在中国古典诗歌意境中体现的尤为突出,这种模糊性表达方式集中体现了模糊美。本文探讨了中国古典诗歌英译的美学要求,以模糊美学为理论基础提出了古诗歌翻译的美学原则,即传递原诗模糊美。在此原则指导下,通过对比古典诗歌英译的不同译本,试图从意境的三个美学构成要素即意象,情,境,对原诗意境进行再创造,探讨如何在译文中传递原诗意境的模糊美。在对大量古诗词译诗进行比较鉴别的基础上,本文分别讨论归纳了原诗意境的三个基本美学要素在译诗中再现的有效转换技巧和方法。在此过程中,对译者的主体表现也进一步提出了意见和要求,特别是强调译者在努力再现原诗意境的同时,还应考虑译文读者在理解与欣赏译诗意境中的主体创造作用。具体对一整首诗的意境移植来说,本文也强调指出原诗意境的三个基本美学要素的再现均要以其整体审美意象的和谐转换为准。本项研究不仅明确提出了意境翻译过程中应把握的基本美学要素,而且研究分析了意境转换过程中的有效方法和技巧,具有较强的可操作性。希望本研究能为中国古典诗歌英译提供崭新的美学再创造空间。
[Abstract]:Classical poetry is one of the most important achievements in Chinese literature, and it is also a bright pearl in the treasure house of world literature, and artistic conception is an important and unique concept in Chinese classical poetics, which has always been regarded as the soul of Chinese classical poetry. Therefore, to a large extent, the translation of Chinese classical poetry is the question of how to change its artistic conception, although many scholars and translators at home and abroad have done a lot of practical and theoretical work on it. Many good works have been translated and many valuable opinions have been put forward. However, due to the complexity of the connotation of artistic conception itself, the problem of artistic conception translation in classical poetry translation is an important but rather difficult field to explore. Most of the discussions on artistic conception translation are empirical, inadequate, and lack of necessary theoretical guidance. At this stage, almost everyone discussing the translation of classical poetry will talk about artistic conception, but as to what artistic conception is, There is also a lack of a clear and unified understanding. Therefore, the current discussion on the translation of artistic conception presents a situation in which different people are different from one another, and different ideas are different. Through the preliminary but systematic discussion of the concept of artistic conception at home and abroad, This paper points out that the artistic conception is the sum total of the artistic image and the imagination which is caused by it. The essence of artistic conception creation lies not only in the blending of emotion and scene, but also in the creation of "the image outside the image", that is, the realm. Can take the reader into a vast reverie. In fact, the artistic conception is accomplished by the author and the reader together. The subjectivity of the reader is fully embodied in the process of artistic conception creation. Aesthetics is an important method to evaluate the value of literature and its translation. Chinese classical poetry translation, from this point of view, is how to maintain the beauty of its artistic conception in the process of translation. That is, fuzziness is the essential feature of all literary texts. Fuzziness is especially prominent in the artistic conception of Chinese classical poetry, and this fuzzy expression embodies the beauty of fuzziness. This paper probes into the aesthetic requirements of translating Chinese classical poetry into English. Based on the theory of fuzzy aesthetics, this paper puts forward the aesthetic principle of ancient poetry translation, that is, passing on the fuzzy beauty of the original poem. Under the guidance of this principle, this paper attempts to make a comparison of the three aesthetic elements of artistic conception, image and emotion, by contrasting the different translations of classical poetry into English. In this paper, the author recreates the artistic conception of the original poem, probes into how to convey the vague beauty of the artistic conception of the original poem in the translation, and on the basis of comparing and discriminating the translation of a large number of ancient poems, This paper respectively discusses and sums up the effective conversion techniques and methods of the three basic aesthetic elements of the original poetic conception reappearing in the translated poem. In this process, the author puts forward further suggestions and requirements for the translator's subjective performance. In particular, it is emphasized that while the translator is trying to reproduce the artistic conception of the original poem, he should also take into account the subjective creative role of the target reader in understanding and appreciating the poetic conception of the translation. This paper also emphasizes that the reproduction of the three basic aesthetic elements of the original poetic conception should be based on the harmonious transformation of its overall aesthetic image. This study not only clearly puts forward the basic aesthetic elements to be grasped in the process of artistic conception translation. Moreover, the study has analyzed the effective methods and techniques in the process of artistic conception transformation, and has strong maneuverability. It is hoped that this study can provide a new aesthetic re-creation space for the translation of Chinese classical poetry into English.
【学位授予单位】：西安电子科技大学
【学位级别】：硕士
【学位授予年份】：2008
【分类号】：H315.9;I046

【引证文献】