论中国古诗英译的再创造性

发布时间：2018-04-24 02:03

本文选题：古诗 + 可译性　；参考：《东北财经大学》2007年硕士论文

【摘要】： 从古到今，从国内到国外，多少浓情蜜意、豪迈情怀无不以诗歌这一最为凝练、光灿的文体来抒发。我们的华夏文化，斑斓璀璨，源远流长，对推动人类文化的发展进程起着无可争辩的作用。特别是属于文学艺术的诗词，独具民族特有的风格和神韵，是中国古典文学最重要的组成部分之一。在数千年的中国历史进程中，涌现出大量有名的诗人。他们以不同的形式创作了数不胜数的诗歌。这些诗歌的体裁主要有楚辞、诗、词，还有曲等。中国古诗不仅是中华民族的瑰宝，也是世界文学史上的明珠。正是由于中国古诗举足轻重的地位和影响，越来越多的学者致力于汉诗的翻译工作。于是，一个问题随之产生：诗歌可译还是不可译。一派咬定可译或大体可译，另一派则咬定绝不可译，争论十分激烈。笔者赞成并基于辜正坤教授针对诗歌翻译的五种情形：(1)全可译因素；(2)大半可译因素；(3)半可译因素；(4)小半可译因素；(5)不可译因素。认为不同语言中共有的或具有共性的东西之间的转换有不言而喻的可行性，，即可译性，认为诗歌完全不可译是错误的。但是，要将以差异为特征的个性化的东西进行相互转换，存在着极大的局限性，这“不仅因为不同的语言系统本身具有排他性，还因为在进行这种独特的东西的交换时，往往缺少等价参照物，译者对出发语和目的语这两者很难做到‘互通有无’。”笔者因而得出结论：汉诗英译的再创造性不可避免。除语言差异造成的影响外，笔者分析并指出汉诗英译具有再创造性的其他原因，如译入语与源语在文化上的差异、目的语读者的影响、译者主体性的影响以及语言学中语篇功能的需求等。对于这种情况，笔者认为全可译因素可以用传统的翻译方法，即直译，绝对忠实源语文本。然而对于那些不能直译的因素，许钧教授提出“要使个性化的东西被对方所接受，且又不损伤其价值，就不能不设法探索各种可行的手段，进行积极的交换。”也就是说首先要在思维上对汉诗英译的再创造性进行全面认识，进而在汉诗英译的实践中采取创造性的方法和技巧来克服遇到的翻译问题，使目的语文本真正成为再创造的果实并被目的语受众所接受。笔者基于大量实例及前人经验，并从诗歌的三个必要部分—形、音、意角度总结出几种再创造的方法和技巧。同时指出这些方法并非象数学公式那样可以绝对套用，要针对不同的问题适当选取和参考。总结出的方法旨在增加思维的宽泛性和启发性。
[Abstract]:From ancient times to now, from home to abroad, how much sentimental meaning, heroic feelings, poetry is the most concise, Guangcan style to express. Our Chinese culture, which has a long history, plays an indisputable role in promoting the development of human culture. Especially the poetry which belongs to literature and art has the unique style and charm of the nation and is one of the most important components of Chinese classical literature. In the course of thousands of years of Chinese history, a large number of famous poets have emerged. They wrote countless poems in different forms. The main genres of these poems are Chu ci, poetry, ci, and music. Ancient Chinese poetry is not only a treasure of the Chinese nation, but also a pearl in the history of world literature. It is precisely because of the important position and influence of ancient Chinese poetry that more and more scholars devote themselves to the translation of Chinese poetry. Thus, a question arises: whether poetry is translatable or untranslatable. One group of biters can be translated or generally translatable, while the other one is absolutely untranslatable, and the argument is fierce. The author agrees with and based on Professor Koo Zheng-kun 's five situations of poetry translation: 1) the total translatability factor / / / The author holds that the conversion between common or common things in different languages is self-evident and translatable, and that poetry is completely untranslatable. However, there are great limitations in converting individualized things that are characterized by differences "not only because of the exclusivity of different language systems themselves, but also because of the exchange of such unique things." There is often a lack of equivalent reference, and it is difficult for translators to communicate with each other as to the starting language and the target language. " Therefore, the author concludes that re-creativity is inevitable in the translation of Chinese poems into English. In addition to the influence of language differences, the author analyzes and points out other reasons why Chinese poetry translation into English is more creative, such as the cultural differences between the target language and the target language, and the influence of the target language readers. The influence of translator's subjectivity and the need of discourse function in linguistics. In this case, the author thinks that the complete translatability factor can be used in traditional translation methods, namely literal translation, absolute fidelity of the source language. However, for those factors which can not be literal translated, Professor Xu Jun put forward that "in order to make individualized things accepted by the other side without harming their value, we have to explore various feasible means and make positive exchanges." That is to say, first of all, we should have a comprehensive understanding of the re-creativeness of the translation of Chinese poems into English, and then adopt creative methods and techniques to overcome the translation problems encountered in the practice of translating Chinese poems into English. Make the target language text become the fruit of re-creation and be accepted by the target language audience. Based on a large number of examples and previous experiences, the author summarizes several methods and techniques of re-creation from three essential parts of poetry: form, sound and meaning. At the same time, it is pointed out that these methods are not absolutely applicable as mathematical formulas, and should be properly selected and referenced for different problems. The methods summarized are designed to increase the breadth and inspiration of thinking.
【学位授予单位】：东北财经大学
【学位级别】：硕士
【学位授予年份】：2007
【分类号】：H315.9;I046

【引证文献】