认知范畴转换角度下的中国古典诗歌意象英译探究

发布时间：2018-10-21 09:58

【摘要】：中国古典诗歌在世界文化中享有盛名,诗歌的翻译是文化交流的重要组成部分。诗歌在于意境,而意境在很大程度上依赖于意象。所以,诗歌的翻译在于意象的翻译,在于意象在译文中的传递和再现。意象,是诗人意愿和情感的承载体,不是简单的语言符号,而是人们认知的产物。而意象的这一本质特征与认知语言学中的语言词汇,范畴的本质是一致的。范畴理论的发展主要经历过两个阶段,经典范畴理论阶段和原型范畴理论阶段。自亚里士多德以来,经典范畴理论就具有重要意义。该理论下的范畴具有以下特点:范畴是由一组充分必要条件确立的;范畴是封闭的;范畴与范畴间有着明确的界限;范畴成员的地位是一致的。直到19世纪60年代,认知语言学的成立和发展对经典范畴理论提出了强烈的质疑,并在学者们的研究探索后产生原型范畴理论。它的确立和发展,使得人们对范畴有了更科学的认识,也为语言学中诸多难题的解决提供了新的视角。该理论认为:范畴不是一个闭合的集合概念,它是一个开放的集合。随着人们认知的发展,任何一个范畴都会有成员的增减和改变。范畴成员之间的地位也是不一样的,有典型成员和非典型成员,亦或称之为中心成员和边缘性成员。范畴是一个等级,可大体分为三个层次:基本层次范畴,上位范畴以及下位范畴。诗歌中的每一个意象在语言层面都有一个它属于的范畴层次,从这一角度出发,意象的语际翻译也可以视作语言范畴的转换。本文中,作者将从语言范畴的转换和改变来探讨中国古典诗歌意象的英译研究。根据认知语言学的观点,范畴是人和外界在互动中产生的,而英汉两种语言系统产生并发展于不同的文化环境中,这就使得人们对同一事物的范畴化也会出现差异。从认知语言学的角度出发,意象的翻译可以理解为某一词汇范畴在另一语言系统中的范畴转化,或者说是再范畴化的过程。然而,在范畴的翻译转换过程中,原范畴在目标语言系统中会出现在范畴层面上诸多不对应的情况,甚至是范畴缺失的情况。文章中,作者将诗歌意象转化的不对应情况主要归纳为以下五种:原型的不对应,范畴层次的不对应,范畴域的不对应,文化内涵的不对应以及范畴的缺失。基于这种种的不对称情况,作者通过范畴转化的两种模式:范畴层次上转换模式和不同范畴间再转换模式。在这两种模式的指导下提出了意象翻译的一些策略。第一种是保留原诗意象的策略,即可以通过直译,直译加示例化或直译加图示化的方法来保留。当在译语系统中可以找到同等或相类似的意象范畴,译者完全可以同过直译或直译加示例化或图示化的方法来保留原诗句中的意象,让译语读者可以最直接地感受到中国古诗意象的独特与精辟之美。第二种则是改变原诗意象的策略。当译入语中范畴缺失时,我们可以改变意象或采用译入语中的意象来取代原诗意象。虽然,原诗的意象被译语中的另一意象所更改,但诗歌意义的完整性和正确性得到了保留,可以避免译语读者对译作产生误解和困惑。第三种则是省略原诗歌意象的策略,这一策略又细分成了省略和概括两种方法。当译语系统中找不到与原意象相对应的范畴,译者可以在保持原诗意义得到传递的基础上省略掉一些意象的翻译,或者采取用其他语言概括综合原意象所表达的意义的方法来指导翻译实践。第四种也是文章中提到的最后一种策略,是添加意象的策略。譬如当原意象是一些表示抽象概念的意象,为了让译语读者更容易更真切地体会到原诗的意义,译者可以视情况添加一些具体的意象来传递原诗句所要表达的意义和情感。在翻译实践中,不管译者选择以上哪种翻译策略,都是为了让原诗意象所要表达的意义以及意象形式之美最大限度地传递到译作中,让译作读者感受到中国诗歌的意义和风味,感受到中国古典诗歌中意象运用的精妙。该研究旨在为中国诗歌中意象的翻译提供一种新颖的研究角度,即从语言学中认知范畴的角度来分析意象的翻译,并从这一角度提出了一些意象翻译的策略。
[Abstract]:Chinese classical poetry enjoys a great reputation in the world culture, and the translation of poetry is an important part of cultural exchange. The poetry lies in the artistic conception, and the artistic conception depends to a great extent on the image. Therefore, the translation of the poem lies in the translation of the image and the transmission and reproduction of the image in the translation. The image, the carrier of the poet's will and emotion, is not a simple language symbol, but the product of people's cognition. The essence of image is consistent with the nature of language vocabulary and category in cognitive linguistics. The development of category theory has experienced two stages, the classical category theory stage and the prototype category theory stage. Since Aristotle, the classical category theory is of great significance. The scope of this theory has the following characteristics: the category is established by a set of sufficient and necessary conditions; the category is closed; there is a clear boundary between the category and the category; the status of the category members is consistent. Up to the sixties of the 19th century, the establishment and development of cognitive linguistics put forward a strong challenge to the classical category theory, and created the prototype category theory after the scholars' research and exploration. Its establishment and development make people have more scientific understanding of the category, and provide a new perspective for solving many difficult problems in linguistics. The theory holds that the category is not a closed set concept, and it is an open collection. With the development of people's cognition, any category will have a membership increase or decrease or change. The status of category members is also different, with typical members and non-typical members, or referred to as central and marginal members. The category is a class, which can be divided into three levels: the basic level category, the upper category and the lower category. Each image in the poem has a category level which belongs to the linguistic level, and from this point of view, the interlanguage translation of the image can also be regarded as the transformation of the linguistic category. In this paper, the author will discuss the translation and change of Chinese classical poetry image from the transformation and change of language category. According to the view of cognitive linguistics, the category is generated in the interaction between human beings and the outside world, while the English and Chinese language systems develop and develop in different cultural environments, which makes people's category of the same thing different. From the perspective of cognitive linguistics, the translation of imagery can be understood as the category transformation of a lexical category in another language system, or the process of re-categorization. However, in the process of translation transformation of category, the original category will appear in the target language system in many non-corresponding cases at the category level, even if the category is missing. In the article, the author divides the non-correspondence of poetic image transformation into five categories: the non-correspondence of the archetype, the non-correspondence of the category level, the non-correspondence of the category domain, the non-correspondence of the cultural connotation and the absence of the category. Based on this asymmetry, the authors adopt two modes of category transformation: category-level up-conversion mode and different inter-category re-conversion mode. Under the guidance of these two models, some strategies of image translation are proposed. The first is the strategy of preserving the original poetic image, that is, it can be preserved by literal translation, literal translation plus instantiation or literal translation. When the equivalent or similar image category can be found in the translated language system, the translator can keep the image in the original verse completely with the method of literal translation or literal translation plus an example or illustration, so that the translator can directly feel the unique and exquisite beauty of the ancient Chinese poetry image. The second is to change the strategy of the original poetic image. When the category is missing, we can change the image or use the image in the translated language to replace the original poetic image. Although the image of the original poem is changed by the other image in the translated language, the completeness and correctness of the meaning of the poem are retained, and it is possible to avoid misunderstanding and confusion about the translation. The third is to omit the strategy of the original poetry image, which is subdivided into two methods: omission and generalization. In the translation system, the translator can omit the translation of some images on the basis of preserving the meaning of the original poem, or take other languages to summarize the meaning of the comprehensive original intention to guide the translation practice. The fourth is the last strategy mentioned in the article, which is the strategy to add imagery. For example, when the meaning of the original poem is more easily understood by the translator, the translator can add specific images to convey the meaning and emotion to be expressed in the original verse. In the translation practice, no matter what kind of translation strategy is chosen by the translator, in order to maximize the meaning of the expression of the original poetic image and the beauty of the form of the image to the translation, make the translator feel the meaning and flavor of Chinese poetry. How to feel the use of imagery in Chinese classical poetry. The aim of this study is to provide a novel approach to the translation of images in Chinese poetry, that is, to analyze the translation of images from the perspective of cognitive category in linguistics, and to propose some strategies for the translation of images from this perspective.
【学位授予单位】：江西师范大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：H315.9;I046

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