毕业文论设计论中国古诗英译中意境的传达.docx

1、毕业文论设计论中国古诗英译中意境的传达浙江大学远程教育学院本科生毕业论文（设计）题 目 论中国古诗英译中意境的传达 专 业 商务英语 学习中心 浙大紫金港 姓 名 杨徐 学 号 713129582006 指导教师 2017 年 5 月 20 日摘 要在文学翻译中，诗歌翻译始终是最具挑战的核心部分。中国古典诗歌的翻译已 有很长的历史，译者百家争鸣，形成了多种诗歌翻译流派。各家流派对中国古典诗 歌翻译的理解不一样，因此策略技巧各不相同，但文学翻译的本质是审美的翻译， 因此意境美作为中国古典诗歌的灵魂，就成为连接各家的共同点，这正是本文研究 的基础。本文在第一章首先介绍了有关中国古诗英译可译与不可译

2、的争论。随着翻译理 论与实践的发展，中国古诗英译的可行性与必要性占了上风，并且出现了三个主要 的派别，格律派、自由派以及创造派。这三派各有不同的侧重点，但力争传达中国 古典诗歌的美却是共同的。文章由此引出意境之美的传达。中国古典诗词翻译中的意境移植问题是一个相当难以探索的领域，其困难主要 源于意境内涵本身的复杂性。因此，本文第二章首先研究了意境在中国诗学中的起 源与发展过程，区分了意象与意境：意境指的是文学作品在其读者脑海中所引起的 整体审美感应，而意象则指构成这一意境的具体的审美因素。在这一区分的基础上， 文章对意象根据其目的性作了分类，阐明了其美学特征。意境由意象传达，但并非意象的简单叠加

3、，因此意境的美学特征和意象的美学 特征既有重叠之处，又不尽相同。对中国古典诗歌的翻译，因此并不能仅仅停留在 意象的翻译上，再现意境的美学特征才是重点，这也正是体现译者创造力的地方。 因此，文章第三章通过举例，详细阐述了在英译中国古典诗歌过程中对各种意境美 的传达，主要包括动静美、空白美以及和谐美。文章最后的个案分析对春晓的几个译文进行了从词到句，再到篇，以及从 意象到意境的分析，指明了中国古典诗歌的翻译应重在把握总体意境，只有这样才 能取得美学对等。关键词：中国古典诗歌翻译；意境；意象；审美再现AbstractIn literature translation, poetry translat

4、ion is always most challengeable. Thetranslation of classical Chinese poetry has a long history during which differenttranslation schools are formed. They hold different perspectives towards the translationof classical Chinese poetry; hence, taking advantages of different translation strategiesand t

5、echniques. Since the nature of literature translation is the transference of theaesthetic taste, the beauty of ideorealin as the soul of classical Chinese poetry is thecommon ground sought by different schools. That forms the basis of this paper. In the first chapter, the paper introduces the argume

6、nt whether classical Chinesepoetry is translatable. With the development of translation theory and practice, mostpeople hold that the translation of classical Chinese is not only possible but alsonecessary. And gradually, three schools, namely, the metrical verse school, the free verseschool, the cr

7、eative school, appears. They focus on different aspects, but the conveyanceof the beauty of those poems remains the same. Thus, the beauty of ideoreahn can be acommon ground for them. Due to the complexity of ideorealm in itself it is difficult to explore in the realm oftransference of ideorealm in

8、classical Chinese poetry. Therefore, in chapter two, thispaper introduces the origin and the historical development of ideorealin in Chinese poetictheories. At same time, differentiations are made between ideoreahn and imagery whichis the carrier of ideorealm. To grasp the connotation of imagery bet

9、ter, this paper alsoclassifies imagery according its purpose, and points out the aesthetic features. The aesthetic features of ideoreatm overlaps with that of imagery, not identifyingwith it. That is also made clear in the paper. Thus, the translation of classical Chinesepoetry is not merely transla

10、tion of imagery, though these poems are full of images, butthe overall ideorealm where the creation of translators lies. That is what chapter threeillustrates by many examples. That is highlighted in the case study in chapter four.Key words: translation of classical poetry; ideorealm; representation

11、 of aesthetic tasteAcknowledgements I wish to express my deepest gratitude to Associate Professor Yi Honggen, my tutor,who gave me considerate and inspiring directions, advice and admonishment,which areof indispensable value to my work on the thesis. I am particularly indebted to him for hisconscien

12、tious patience in reading and improving the thesis and his kind encouragementthroughout my there-year graduate study program, without which, this thesis would notexist. I would like to thank all my teachers in CCNU who have taught me postgraduatecourses, to whom I owe much of my knowledge in the Eng

13、lish language, literature, andculture. They have either broadened my horizon through their scholarly lectures. orhelped me in every possible way. Besides I am grateful to my family and friends whose support, help and inspirationallowed me to focus on the thesis without distractions and finally compl

14、eted this papernow1. Introduction1.1 Background of the Study Poetry is the oldest literature form; it is the crystallization of the times, history andculture. Poetry not only represents the extensiveness and profoundness of a nationsculture, but also, by means of concise language, combines ideal and

15、 reality, time andspace, sense and sensibility For a nation with a history of 5000 years, the classicalChinese poetry is a brilliant gem in the Chinese literature as well as in the worldliterature. Early in the end of the 19 century, the well-known English scholar-HerbertG Giles rendered Chinese Tan

16、g Poems into English verseswhich were well received byreaders of English. However, in the long history of translating classical Chinese poetryinto English, there is not a universally accepted theory for it. First, there is a problem oftranslatability. Scholars like Wen Yduo(闻一多)hold that poetry is a

17、ctuallyuntranslatable: 这到底是怎么一回事?怎么中文的“浑金璞玉”，移到英文里来，就变成这样的浅薄，这样的庸琐?我说这毛病不在译者的手腕，是在他的眼光，就像这一类浑然天成的名句，它的好处太玄妙了，太精微了，是禁不起翻译的。你定要翻译它，只有把它毁了完事!譬如一朵五色的灵芝，长在龙爪似的老松根上，你一眼瞥见了，很小心的把它采了下来，供在你的瓶子里，这一下可糟了!从前的瑞彩，从前的仙气，于今都变成了又干又瘪的黑菌。你搔着头，只着急你供养的方法不对。其实不然，压根儿你就不该采它下来，采它就是毁它，“美”是碰不得的，一豁手它就毁了。 He has the same opinion

18、 as the English poetry translator John DenhamdoePoetry is of so subtle a spirit,山at in the pouring out of one language into another,it will evaporate. Then, there are different schools among those who claim translatability of poetry.The three major schools are metrical verse school free school and c

19、reative school. The metrical verse school pays special attention to the meter and rhyme scheme. Itsrepresentatives include Hebert Cx Giles John Tuner, W. J. Fletcher and the well-knownChinese translator Xu Yuanchong(许渊冲).Xu is not only a translator but also a theorist.He has rendered many poems as w

20、ell as Ci poems and Qu poems into English andFrench. His versions rhyme naturally. Both his practice and theory were highly praisedby Qian Zhongshu(钱钟书).Qian once talked about Xus two bookArt of Translation(翻译的艺术)and The English Versions of 300 Tang Poems(英译唐诗300首)that“the two books are complementar

21、y as features to the wings of a bird or the stars andthe moon add radiance and beauty to each other in the sky(二书如羽翼之相辅，星月之交辉).Much of Xus theory concerning the translation of poetry, such as three beauties(三美论)，and exploiting the advantages of the target language to the full(发挥译语优势论)”，is gradually

22、accepted勿more and more scholars. The free school translates poems into free verse or prose. They focus more on thespirit of the poem. They hold that rhyme in the translated version will definitely impairthe meaning of the original; hence, the good taste of the poem is lost in translation. ArmyLowell

23、, Arthur Waley，Witter Bynner and the famous domestic translator-WengXianliang(翁显良)are the representatives. Weng once said, The translation of a poem isnot merely a copy of it. Whether it resembles the original or not lies in the spirit, not inthe appearance二。Furthermore, the translation should not s

24、ubject to the restraint of thetraditional form. It makes no difference whether it is rhymed and divided into lines. It isquite free.(再现绝不是临摹，似或不似，在神不在貌更不必受传统形式的束缚，押韵不押韵，分行不分行，一概无所谓，岂不自由得很?)(翁显良，1985:1) The representatives of creative school are Ezra Pound, Arthur Waley, Witter Bynnerand Kenneth Rexr

25、oth. This school overlaps with the free school. The difference lies inthat the creative school also puts poems into free verse, but they lay particular emphasison the expression of aesthetic perception of the Chinese poetrywhich is usuallysubjective. As a result, some translated versions of this sch

26、ool are not regarded astranslation but creative work in some important poe勺anthology.1.2 Significance of the Study Since one cannot understand all the languages in the world, poetry should betranslated. As for the English translation of the classical Chinese poetry, although thereare generally three

27、 schools, when we put their differences aside, we can find the commonground-the conveyance of the beauty of the poetry. The beauty of classical Chinesepoetry lies in the creation of ideorealm. Ideorealm is the soul of classical Chinese poetry.It fuses the feelings of the poet and the setting of the

28、poem, leaving boundless space forthe reader to explore. In this way, the reader can go into the poets realm through theconcrete images in the poem. Many poetry translators have attached great importance tothe ideorealin of the poetry. LinYutang(林语堂)once said, it (poetry translation) isself-evident t

29、hat ideorealm is utmost important.(意境第一，自不必说。)(林语堂，1986:53) In his three beauties theory, Xu Yuanchong also said, in translating a poem,the reproduction of the beauty of meaning (ideorealm) always comes first.(在译诗时，传达原诗意美是最重要的，是第一位的。)(许渊冲，2006: 9 ) Only when a reader canappreciate the ideorealin of

30、the classical Chinese poetry, can he enjoy the beauty of them.For the same reason, we can also hold the reproduction of ideorealm as the criteria forthe translation of classical Chinese poetry. Although many translators know the importance of ideorealm for classical Chinesepoetry, there is not much

31、systematic research on it. This paper will make a tentative probeinto this respect.1.3 Structure of the Thesis This paper consists of four chapters. Chapter 1 is an introduction of the backgroundand the significance of the study; Chapter 2, the theory of ideorealm, including itshistorical developmen

32、t and its components with aesthetic features illustrated;Chapter 3,the aesthetic features of ideorealm and the transference of these features in the translationof classical Chinese poetry; Chapter 4, a case study; Chapter 5, conclusion.2. Theory of Ideorealm2.1 Origin and Development of the Theory of Ideorealm Ideorealin is an important concept