眾所周知,翻譯涉及兩種語(yǔ)言及兩個(gè)文本之間的轉(zhuǎn)換。在此過(guò)程中,考慮到不同文化的譯本才能被讀者接受。譯者要考慮文化因素,就要學(xué)習(xí)其他文本,這個(gè)過(guò)程就是互文活動(dòng),那么翻譯也是一個(gè)互文的過(guò)程。本文將此理論運(yùn)用到中國(guó)古典詩(shī)歌《詩(shī)經(jīng)·國(guó)風(fēng)》的英譯研究中,旨在促進(jìn)詩(shī)歌翻譯研究及拓寬詩(shī)歌翻譯研究的角度。作者選取互文性理論中的外互文與內(nèi)互文分類(lèi),分析理雅各譯本、汪榕培譯本、楊憲益與戴乃迭譯本,指出《詩(shī)經(jīng)·國(guó)風(fēng)》中的元素在不同篇目中構(gòu)成外互文關(guān)系,同一篇目中的元素構(gòu)成內(nèi)互文關(guān)系。通過(guò)對(duì)《詩(shī)經(jīng)·國(guó)風(fēng)》三個(gè)譯本的對(duì)比分析,筆者發(fā)現(xiàn)稱(chēng)謂、民俗、星象、句法以及聲音等多個(gè)層面中均存在互文性。通過(guò)分析文本中的詞匯、短語(yǔ)、句子及詩(shī)歌結(jié)構(gòu)、詩(shī)歌韻律等,發(fā)現(xiàn)三個(gè)譯本的不同之處:理雅各的譯本主要采用直譯的翻譯策略,傳達(dá)原文意義,但是他的譯文造成了文化的缺失。汪榕培的譯本主要采用意譯的翻譯策略,在上述多個(gè)層面,較好地考慮到互文性在源語(yǔ)和目的語(yǔ)之間的體現(xiàn)。此外,他適當(dāng)?shù)膶?duì)互文印跡進(jìn)行取舍,并靈活處理,較完整地體現(xiàn)了譯者在互文性翻譯中的閱讀、闡釋和改寫(xiě)。楊憲益與戴乃迭的譯本,主要采用直譯加注釋的翻譯策略,以注釋的形式建立源語(yǔ)與目的...

【文章頁(yè)數(shù)】：64 頁(yè)

【學(xué)位級(jí)別】：碩士

【文章目錄】：
Acknowledgments
摘要
ABSTRACT
Chapter One INTRODUCTION
    1.1 Research Background
    1.2 Significance of the Research
    1.3 Methods of the Thesis
    1.4 Structures of the Thesis
Chapter Two LITERATURE REVIEW
    2.1 Studies on Translation of Shijing·Guo Feng at Home
    2.2 Studies on Translation of Shijing· Guo Feng Abroad
Chapter Three INTRODUCTION TO SHIJING ·GUO FENG’S TRANSLATORSAND ENGLISH VERSIONS
    3.1 Classical Chinese Poetry: Shijing·Guo Feng
    3.2 Guo Feng?s Translators and English Versions
        3.2.1 James Legge and His She-King
        3.2.2 Wang Rongpei and His Book of Poetry
        3.2.3 Yang Xianyi and Gladys Yang and Their Book of Songs
Chapter Four INTRODUCTION TO INTERTEXTUALITY THEORY
    4.1 Brief Introduction
    4.2 Extratextuality and Intratextuality
    4.3 Relationships between Intertextuality and Translation
Chapter Five INTERTEXTUALITY OF ENGLISH TRANSLATIONS OFSHIJING·GUO FENG
    5.1 Extratextuality Reflected in Shijing·Guo Feng
        5.1.1 Extratextuality Reflected in Appellation
        5.1.2 Extratextuality Reflected in Folklore
        5.1.3 Extratextuality Reflected in Astrology
    5.2 Intratextuality Reflected in Shijing·Guo Feng
        5.2.1 Intratextuality Reflected in Syntax
        5.2.2 Intratextuality Reflected in Sound
Chapter Six CONCLUSION
WORKS CITED
THE AUTHOR’S RECENT PUBLICATIONS AND RESEARCH INVOLVED



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