格式塔意象再造视角下《红楼梦》三个英译中林黛玉诗歌意象翻译的比较研究

发布时间：2018-03-14 16:45

本文选题：意象　切入点：林黛玉的诗歌　出处：《西南交通大学》2017年硕士论文　论文类型：学位论文

【摘要】：林黛玉的诗歌是《红楼梦》不可或缺的重要部分。《红楼梦》有三个完整的英译本,其中两个完整版本—杨宪益和戴乃迭的译本,大卫·霍克斯和约翰·闵福德的译本,在学术界很受欢迎,而神父邦索尔译的第一个但未发表的全译本受到的关注较少。基于三个译本的比较分析,本文主要探讨了林黛玉的诗歌意象。玛丽·斯内尔-霍恩强调使用格式塔的整体原则来深入研究文学翻译。本文与她的深刻见解产生了共鸣,试图从姜秋霞提出的格式塔意象视角出发,探讨了林黛玉诗歌翻译中格式塔意象再造。文中使用定性、定量和比较方法,从各种各样的诗歌意象中,选择了抽象意象,数字意象和名字意象,并且探讨了三种意象的心理和语言层面上的再现。关于抽象意象和数字意象的翻译策略,本文发现:相比其他的策略如意译、省略、替换,三个译者更多地使用了直译;邦索尔几乎都采用直译;相比霍克斯,杨宪益更多地采纳了直译。至于名字意象的翻译策略,可以看出邦索尔都采用音译,而杨和霍克斯都使用两种方法—音译和语义翻译。接着本文对语言层面,审美水平,部分和整体三个层面的和谐做了初步研究。研究发现:关于语言层面的和谐,相比邦索尔,霍克斯和杨宪益更能再现原诗的音律从而实现语言和谐;至于审美水平,相比霍克斯和邦索尔,杨宪益更能再现审美和谐,保持完整的格式塔特质并使目标语读者体验到原诗呈现的审美享受;关于部分和整体的和谐,三个译本都尽力再现格式塔整体意象,实现各部分恰当地融入整体,而不是语言成分简单地对应。每个译本都有优点和缺点.就想象机能和适应机能而言,与杨宪益和邦索尔相比,霍克斯擅长释放想象力来填补差距以及改变现有的模式使其一致和谐地融入原文。该研究可能为诗歌翻译者再现审美效应提供了借鉴,这也可以应用于其他诗歌翻译研究—从格式塔再造视角来评估其他的诗歌翻译。
[Abstract]:Lin Daiyu's poems are an indispensable part of A Dream of Red Mansions. There are three complete English versions of the Dream of Red Mansions, two of which are translated by Yang Xianyi and Dai Naidi, and by David Hawks and John Minford. Popular in academia, the first but unpublished full version of Father Bonsall's translation received less attention based on a comparative analysis of the three versions. This paper focuses on Lin Daiyu's poetic imagery. Mary Snell Horne emphasizes the use of the holistic principle of the Gestalt to study literary translation in depth. This article resonates with her insights. From the perspective of Gestalt image put forward by Jiang Qiu-xia, this paper discusses the reconstructing of gestalt image in the translation of Lin Daiyu's poetry. The qualitative, quantitative and comparative methods are used to select abstract image from all kinds of poetic images. On the translation strategies of abstract image and digital image, it is found that compared with other strategies, the translation strategy is satisfactory, ellipsis, substitution, and so on. The three translators used more literal translation; Bonsall almost all adopted literal translation; Yang Xianyi adopted more literal translation than Hawks. As for the translation strategy of name images, we can see that Bonsall uses transliteration. Yang and Hawks both use two methods-transliteration and semantic translation. Then this paper makes a preliminary study on the harmony between language level, aesthetic level, part and whole. Hawks and Yang Xianyi can reproduce the rhythm of the original poem and achieve language harmony. As for aesthetic level, rather than Hawks and Bonsall, Yang Xianyi can reproduce aesthetic harmony. The three versions try their best to reproduce the whole image of the Gestalt and realize the proper integration of each part into the whole, while maintaining the complete Gestalt characteristics and enabling the target readers to experience the aesthetic enjoyment presented by the original poem, the three versions try their best to reproduce the Gestalt's whole image in harmony with the whole. Each translation has its advantages and disadvantages. In terms of imaginative and adaptive functions, compared with Yang Xianyi and Bonsall, Hawks is adept at unlocking imagination to fill the gap and to change existing patterns so that they can blend in harmoniously with the original. The study may provide a reference for poetry translators to reproduce aesthetic effects. This can also be applied to other poetry translation studies-from the perspective of Gestalt Reconstruction to evaluate other poetry translation.
【学位授予单位】：西南交通大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：H315.9;I046

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