从意象再现角度赏析杨宪益唐诗翻译

发布时间：2018-01-03 17:20

本文关键词：从意象再现角度赏析杨宪益唐诗翻译　出处：《华中科技大学》2012年硕士论文　论文类型：学位论文

【摘要】：中国古典诗歌以其音乐性和语言独特性闻名世界，被译成各国语言广为流传，使得外国人对中国文化有了更深刻的了解。许多翻译家和学者都对中国古典诗歌的翻译和传播做出过重大贡献，杨宪益先生不可不说是其中的翘楚，他与妻子戴乃迭一起，将过百部中国文学作品翻译成了英文，是中国不可多得的高产译者。意象作为诗歌的灵魂，是帮助诗人表达忧伤和喜悦；表达对自然和美的赞赏，以及对不公平社会制度的憎恶的媒介和途径。因此，在诗歌的翻译过程中，意象作为最重要的部分，理所应当得到最大程度的重现。这也成为了众多译者不遗余力想要实现的目标。然而，在研究意象的翻译时，有些学者只注重单一的意象而忽略了意象的组合。事实上，单一的意象本身其实并没有确定的含义，也无法表达诗人复杂和微妙的情感。而诗人在写诗的过程中，只有将各种不同的意象有机结合起来，建立成一个完整的画面，才能成功将意境传达至读者面前。如果只有单一的意象，诗人情感的起因，效果，变化和发展也就无从得知。因此，只有所有意象共同发挥作用，才能完整表达诗人的感情和诗的主题。本文以翻译家杨宪益和戴乃迭夫妇的唐诗英译作为研究对象，同时借鉴陈植锷先生对中国古典诗歌意象组合的分类，将唐诗根据不同意象组合方式分为五类：并置式、跳跃式、叠加式、相交式和辐合式。在每种分类下，将杨氏夫妇的译本同其它翻译学者的译本进行对比研究，分析鉴赏他们针对不同的意象组合方式，，所选择的意象处理方式有何不同以及与之对应的意境再现的效果，进而总结出，杨宪益和戴乃迭夫妇在处理五种不同类别的意象组合是所采用的方法各有不同。对于并置式的意象组合，杨氏夫妇采取了形式对等的翻译策略；对于跳跃式的意象组合，他们主要采用增译和变换句式的策略来保证意境的重现；对于叠加式的意象组合，他们采取的是中庸的翻译策略，将直译和意译相互融合，兼顾源语和目的语的文化差异；对于相交式的意象组合，他们采取的是合并处理的方式，同时通过增译保持结构上的对等；而对于辐合式的意象组合，他们采用直译加学术性注释的翻译策略。论文主要分为四个部分。第一章为文献综述。介绍了意象的概念和五种组合方式，并简要介绍了杨宪益和戴乃迭夫妇的生平以及对诗歌翻译的贡献和成就。第二章为方法论，包括研究问题，样本采集，对比及描述性研究。第三章是对杨宪益和其他学者唐诗译本的比较研究。本章分为五部分，每一部分分别针对对应一种意象组合方式的唐诗，比较研究不同译本对不同意象组合的处理方式以及意境再现的效果。第四章总结了杨宪益和戴乃迭夫妇在唐诗翻译过程中，对于意象处理的特点，并提出了文章的不足。
[Abstract]:Chinese classical poetry is famous all over the world for its musicality and linguistic uniqueness. So that foreigners have a deeper understanding of Chinese culture. Many translators and scholars have made great contributions to the translation and dissemination of Chinese classical poetry. Together with his wife, Dai Nadie, he translated more than 100 Chinese literary works into English and was one of the most productive translators in China. Image, as the soul of poetry, is to help poets express sadness and joy; The expression of appreciation of nature and beauty, as well as the hate of unfair social system, the media and ways. Therefore, in the translation of poetry, image is the most important part. It is well-deserved to get the greatest possible recurrence. This has become the goal that many translators spare no effort to achieve. However, in the study of image translation, some scholars only pay attention to the single image and ignore the combination of the image. In fact, the single image itself has no definite meaning. Nor can he express the poet's complex and delicate feelings. In the process of writing poems, the poet can only combine all kinds of images organically and establish a complete picture. Only if there is a single image, the cause, effect, change and development of the poet's emotion will not be known. Therefore, only all the images work together. In order to fully express the poet's feelings and the theme of poetry. This paper focuses on the translation of Tang poetry by translators Yang Xianyi and Dai Naidi, and draws lessons from Mr. Chen Zhi-E 's classification of the image combination of classical Chinese poetry. According to different image combinations, Tang poetry is divided into five categories: juxtaposition, jump, superposition, intersection and convergence. Under each classification, the translation of Yang and his wife are compared with those of other translation scholars. Analysis and appreciation of their different image combinations, the selection of different image processing and the corresponding artistic conception of the effect of reproduction, and then summed up. Yang Xianyi and Dainaidi have different approaches in dealing with five different types of image combinations. For the juxtaposition of images, the Young and his wife adopt the translation strategy of formal equivalence. For the jump image combination, they mainly adopt the strategies of adding translation and changing sentence patterns to ensure the reproduction of artistic conception. For the superimposed image combination, they adopt a mediocre translation strategy, which combines literal translation with free translation, and takes into account the cultural differences between the source language and the target language. For the intersecting image combination, they adopt the method of merging, and at the same time, they maintain the structural equivalence by adding translation. For convergent image combinations, they adopt literal translation and academic annotation translation strategy. The paper is divided into four parts. The first chapter is a literature review, which introduces the concept and five combinations of imagery, and briefly introduces the lives of Yang Xianyi and the couple, as well as their contributions and achievements in poetry translation. The second chapter is methodology, including research questions, sample collection, comparison and descriptive research. The third chapter is a comparative study of Yang Xianyi and other scholars of Tang poetry translation. This chapter is divided into five parts, each part of the corresponding image combination of Tang poetry. A comparative study of different versions of different image combinations and the effect of artistic conception reproduction. Chapter 4th summarizes the characteristics of image processing in the translation of Tang poetry by Yang Xianyi and Dai Naidi, and points out the shortcomings of the article.
【学位授予单位】：华中科技大学
【学位级别】：硕士
【学位授予年份】：2012
【分类号】：H315.9;I046

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