李商隐“无题诗”中的“朦胧”在英译中的传递

发布时间：2018-06-20 06:48

本文选题：朦胧 + 燕卜荪　；参考：《首都师范大学》2009年硕士论文

【摘要】： 1930年,英国批评家、诗人威廉·燕卜荪的Seven Types of Ambiguity(《朦胧的七种类型》)一书出版,将朦胧作为诗歌的本质进行了深入探讨,引发了人们对朦胧问题的重新思考。中国诗歌的朦胧注重含蓄、蕴藉和意义的不可传达,揭示作者意图与文本实际意图的差异性存在的可能,因此就产生了种种如水中月,镜中花般的朦胧美感。晚唐著名诗人李商隐的诗是中国古典诗歌的朦胧经典。他用细腻的表达、扑朔迷离的结构,开创了一个充满激情和幻想的奇异、迷人境界。本文试从燕卜荪的英诗七种朦胧类型反观李商隐的“无题诗”,探讨其诗歌朦胧在英译中的得失,并试析原因。本文选取李商隐最有代表性的“无题诗”作为研究对象,用四位国内外著名翻译家:葛瑞汉,宾纳,刘若愚,许渊冲的翻译作为例证,对朦胧在英译中的得失进行分析。本文分为三个部分。第一部分主要对“朦胧”的概念进行界定,分别对燕卜荪的“朦胧”和中国古典诗歌的“朦胧”进行系统梳理,并且对两者的异同进行深入分析,为后面的论述作理论准备。第二部分以李商隐的无题诗作为例证,探讨李诗语言层面的朦胧在汉译英过程中的传递情况。此部分分为三节,分别从词汇、语法和修辞层面进行深入、透彻的分析。第三部分深入到诗歌意义和诗学美感的层面,探讨朦胧的传递情况。经过深入分析,更好地领悟李商隐诗歌的朦胧,进而厘清中国古典诗歌的朦胧本质,并且观照朦胧对现代诗歌的影响。分析朦胧在汉译英传递过程中的得失,研究其深层原因,有利于更好地把握中西朦胧的异同。
[Abstract]:In 1930, the British critic and poet William Empson, Seven types of Ambiguity (Seven types of obscurity), published a book, which deeply explored the essence of obscurity as poetry, and caused people to rethink the obscurity problem. The obscurity of Chinese poetry lays stress on implicature, implication and untransmissible meaning, and reveals the possibility of the difference between the author's intention and the actual intention of the text, thus producing a variety of misty aesthetic senses such as the moon in the water and the flower in the mirror. The poem of Li Shangyin, a famous poet in late Tang Dynasty, is a obscure classic of Chinese classical poetry. With his delicate expression and complicated structure, he created a fantastic and enchanting realm full of passion and fantasy. This paper attempts to review Li Shangyin's poem without inscription from the perspective of seven obscure types of English poetry by Empson, to discuss the gains and losses of obscurity in English translation, and to analyze the reasons for it. This paper selects Li Shangyin's most representative poem without inscription as the research object, and analyzes the gains and losses of obscurity in English translation with the help of four famous translators at home and abroad: Graham, Banner, Liu Ruoyu and Xu Yuanchong. This paper is divided into three parts. The first part mainly defines the concept of "obscurity", combs Empson's "obscurity" and "obscurity" of classical Chinese poetry, and analyzes their similarities and differences in depth, and makes theoretical preparations for the later discussion. The second part takes Li Shangyin's poem without inscription as an example to discuss the transmission of the obscurity of Li's poems in the process of translating from Chinese to English. This part is divided into three sections, from the lexical, grammatical and rhetorical levels of in-depth, thorough analysis. The third part goes deep into the meaning of poetry and the aesthetic sense of poetics and discusses the transmission of obscurity. Through in-depth analysis, we can better understand the obscurity of Li Shangyin's poetry, and then clarify the obscure nature of Chinese classical poetry, and look at the influence of obscurity on modern poetry. To analyze the gains and losses of obscurity in the process of Chinese-English translation and to study its underlying causes will help to better grasp the similarities and differences between Chinese and Western obscurity.
【学位授予单位】：首都师范大学
【学位级别】：硕士
【学位授予年份】：2009
【分类号】：I046;H315.9

【引证文献】