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论文正文

OUTLINE

Abstract:

Keywords:

Ⅰ.Introduction

Ⅱ.UnderstandingofImageinPoetry

2.1ImageinChinesepoetry

2.2ImageinWesternPoetry

2.3ComparisonofImagewithIdeorealm

Ⅲ.MethodsofTranslatingImages

3.1PreservingtheImage

3.1.1PreservingtheImagewithoutAnnotation

3.1.2PreservingwithAnnotation

3.1.3DeformationandDisembodiment

3.2PreservingPartoftheImage

3.3ChangingtheImage

3.4OmittingtheImage

Ⅳ.Conclusion

Bibliography

中文标题、摘要、关键词

OntheImageofPoetryinTranslation

Auther：

DaiLijiangNumber：

06081142Tutor：

ZhangminZhuYanning

Abstract:

Imageryistherepresentationthroughlanguageofsensoryexperiences,thatis,imagerydescribesphysicalexperienceintermsofmentalexperience.Itplaysanimportantroleinpoeticcreation.However,differentculturalbackgroundsdecidethatthesameimagemayhavedifferentassociationandconnotationindifferentlanguages,orthesameideaisrepresentedbydifferentimages.Thisthesisrecommendsfourwaysofdealingwithimageryintranslating,thatis,preservingtheoriginalimages,partiallypreservingtheimages,changingimagesorabandoningthemaccordingtodifferentsituations.

Keywords:

image;poetrytranslation;preservingtheimage;preservingpartoftheimagechangingtheimage;omittingtheimage

I.Introduction

ChineseclassicalpoetryisthegemofChineseliterature,particularlynotedforitssimplicity,subtlenessanditsrichconnotation.Chinesepoetryworksitmagicbythewayituseswordstoevoke“images”thatconveyalotofmeaningonceyoulookintothem."Image"inpoetryreferstothewordsorthelanguageawriterusestoconveyaconcretementalimpression,creatinga"picture"inthereader'simaginationorsensoryinotherways.Fromliterarypointofview,an"image"isthebasicelementofapoem.Whilefromaestheticpointofview,animageisthesmallestunitofaestheticappreciation.Therefore,ArthurWaleysaidthatimageryisthesoulofpoetry.Tosomeextent,poetryisimagery.Therefore,translatingpoetryis,largely,translatingimagery.Thisarticlemainlydealswithtwostrategies（domesticationandforeignizinofimagerytranslation.Accordingly,somespecifictechniquesinaccordancewiththesetwostrategiesaretobeexpounded.Theanalysisshowsthatduetotheaimofretainingculturalflavorandcolorandfulfillingculturalcommunication,whilepreservingtheEnglishreaders'freedomofimagination,foreignizingtranslationshouldtakeprecedenceoverthedomesticationtosomeextent.Inconclusion,weaskthetranslatorstobeartwopointsinmind:

theawarenessandresponsibilitytopromotecross-culturecommunication,whichrequirestheirbestefforttoconveyboththeformandculturalconnotationofanimage;secondly,theirtrustintheirintendedreaders,givesthemthedynamicparticipationandfreedomintheappreciationofclassicalpoetry.

ⅡUnderstandingofImageinPoetry

Somepeoplesaythat"poetryiswhatislostintranslation",andsomesayitisuntranslatablebecauseit'simpossibletoreproducemeter,rhyme,etc.,butonefactiscertainthattranslationbetweenthetwolanguageshaveneverbeenstopped,especiallyinthe20century,translationofpoetrybetweenthetwolanguagesincreasedgreatlybothinquantityandinquality.Inthe1920s,imagismwasestablishedintheAmericaandBritishpoetrycircle.SincethentranslationofChinesepoemsbecameatrendintheWest.

Besides,manytranslatedChinesepoemsandcommentarieswerepublishedonPoetry,whichisamainfieldofimagists.（ZhuHui,1996:

16-17）WhiletranslatingorthroughreadingtranslationsofChinesepoems,thewesternpoetstriedtoimitateordrawinspirationfromthemandcreatedmanyfreshanduniqueimages.

In1915,EzraPoundpublishedhisImagistManifestoinPoetrywhichsetthemilestoneofImagism.Hedefined"image"as"theintellectualandemotionalcomplex",andheattachedgreatimportancetotheuseofimagesincomposing.

Inthemeantime,theChinesepoetsinorafterthe"May4Movement"alsobegantotranslateandlearnfromtheWest.HuShi（1891-1962）declaredhisagreementwiththeimagistswhenhewasstudyingintheU.S.from1910to1917.UponreturningtoChina,hebegantowriteinfreeverseandinthevernacular.WenYi-duo（1899-1946）hadatalkwithAmyLowellinMarch,1923andlaterwrotehislongpoemTheColorofAutumnwhichhadanobviousinfluencefromimagistJ.G.Fletcher.GuoMo-ro（1892-1978）isoneofthefoundersof"newpoetry"inChina.HedrewinspirationfromWaltWhitman（1819-1892）andcreatedhisGoddess.OtherpoetslikeXuZhi-mo（1897-1931），TianHan（1898-1968）arealsoinfluencedgreatlybythewesternimagists.

Theabovediscussionistoprovethatpoetrycanbetranslatedthoughtherearestillmanythingstobedesired.ButonefactiscertainthatthroughthetranslationbetweenChineseandEnglishpoetry,peoplestarttounderstandeachothermoreandmoreandthismovementhomeandabroadcertainlypromotestheprosperityofpoetryonthewhole.

Translationofonepoetryintoanotherinevitablywillhavetoconfrontthedifferencesofmeters,rhymesandform,butthepresentthesisonlyfocusesonimagesinthetwopoetry.Chinesepoemsarerichinimagery,thereforetranslationofimagesbecomestheessentialpartofthistask.

2.1ImageinChinesePoetry

Theword"image"inChineseandEnglishallrevealsthecloserelationshipbetweenthesubjectiveworldandobjectiveworld.Itformsinthebrainofhumanbeingsandembodiesitselfinobjectsorspecificideas.Imageisoneofthemostimportantcomponentsinpoetry.Itisthecentralpartforreaderstounderstand.ImagefirstlyappearedintheAppendedStatements（《系辞》）,acommentaryofBookofChanges（《周易》）,whichisthoughttobeaphilosophicalbookinthePre-Qintimes,reflectingtheancientpeople'scomprehensionaboutimages.Thestatementsarefrequentlycitedinliterarythoughtslikethis:

子曰:

“书不尽言，言不尽意。

”然则圣人之意，其不可见乎?

子曰:

“圣人立象以尽意，设卦以尽情伪，系辞焉以尽其言。

”

Hesaid,“Whatiswrittendoesnotgivethefullnessofwhatis/wassaid（yan）;whatis/wassaiddoesnotgivethefullnessoftheconceptinthemind（yi）.”“Ifthisisso,thendoesitmeanthattheconceptsinthemindsoftheSagescannotbeperceived?

"Hesaid,"TheSagesestablishedtheimages（xiang）istogivethefullnessoftheconceptsintheirminds,andtheysetupthehexagramstogivethefullnessofwhatistrueandfalseinappendedstatements（XiCi）togivetheasituation（qing）;tothesetheyfullnessofwhatwassaid..."（Owen,1985:

31）Thispassagereflectsthephilosopherunderstandingabouttherelationshipamong"yi"（theconceptinthemind）,"xiang"（image）and"yan"（whatis/wassaid）.Fromtheliterarypointofview,especiallyinpoetry,"images"aretheobjectsinnatureorothersocialactivitiesrelatingtohumanbeingswhichconstitutematerialsofthought;"yi"（theconceptinthemind）isthecontentofthought,includingsubjectiveideology,conceptandconsciousness."Yan"（whatis/wassaid）istheresultofthoughtandmanifestationinwrittenform.Aswecanseehere,imageisthecombinationofthesubjectivemeaningandtheobjectiveobject.Imagescomeintobeingwhenapersonattacheshisownsentimentstotheouterobjects.Inotherwords,heturnstothenaturefortheoutpouringandexpressionofhisinnerfeelings.Forinstance,originally,"moon"ismerelyakindofnaturalobjectwhichhasnothingtodowithhumanfeelings,butinliteraryworks,"moon"isoftenendowedwithspecialmeaningsbymenofletters.InLiBai'sATranquilNight（《静夜思》），"Abed,Iseeasilverlight,wonderifit'sfrostaground.Lookingup,Ifindthemoonbright;bowing,inhomesicknessI'mdrowned."“床前明月光，疑是地上霜。

举头望明月,低头思故乡”，here"moon"notonlyrepresentsthenaturalobject,butalsobearsthepoet'sfeelingsofhomesickness.Theword"image"wasfirstlyusedasacompoundwordintheBookofLunheng（《论衡》）byWangChong（王充）intheEasternHanDynasty.WangChongconcludedtheprincipleof"givingtheconceptsinthemindintheformofimages"（立意于象），whichactuallyistheextensionanddevelopmentof"theSagesestablishedtheimages（xiang）togivethefullnessoftheconceptsintheirmind"（圣人立象以尽意）intheBookofChanges（《周易》）.Fromthis,wefindtheetymologicalfoundationforthedefinitionof"image".IntheElucidationofImage（《明象》），anotherphilosophicalbookwrittenbyWangBi（王弼226-249）heelucidatedtherelationshipamong"yi","xiang","yan"asfollowing:

犬象者，出意者也;言者，明象者也。

尽意莫若象，尽象莫若言。

言生于象，故可寻言以观象;象生于意，故可寻象以观意，意以象尽，象以言著。

Theimageiswhatbringsoutconcept;languageiswhatclarifiestheimage.Nothingcanequallanguageingivingthefullnessofimage.Languagewasbornofimage,thusweseekinlanguageinordertoobservetheconcept.Conceptisfullygiveninimage;imageisovertinlanguage.（Owen,1985:

34）Thisstatementfurtherexplainsthecloseconnectionamong"yi","xiang",and"yan".Theimagerepresentsconceptinthemind;languageclarifiesandexplainsimage.Thethreeintertwinedwitheachothertobringouttheimage.Ifwordscan'texpressthoughtcompletely,theycanneverthelessprovefullyadequatetotherepresentationofanimage.（Yu,1987:

41）However,itwasuntilLiuXiewhousedthetermyixiangdirectlyforthefirsttimeinthedescriptionofliterarycreation,especiallyinpoetryinhisfamousbookaDragonwithaLiteraryMind（《文心雕龙》）.Inthechapterof"Imagination"（《神思》）,hementionedtheimageinthisway:

"writeinaccordancewiththerulesofprosodyandmorphology，andtheuniquelydiscerningcarpenterwieldhisaxwithhiseyetotheimage"（寻声律而定墨，独照之匠，窥意象而运斤）.Liuhascomparedpoetrywritingtotheworkofcarpenterwhochoosessuitabletemplateandmaterialstomakeacompleteproduct.Whencr