本文選題：《樂府詩(shī)》 + 語(yǔ)音象似性��； 參考：《江蘇大學(xué)》2017年碩士論文

【摘要】：樂府詩(shī)專指入樂的詩(shī)歌,來源于民間,語(yǔ)言通俗樸素,節(jié)奏簡(jiǎn)練鮮明,風(fēng)格靈活多樣,故而流傳至今。為了廣泛傳唱,作詩(shī)者常巧妙運(yùn)用語(yǔ)言的音樂性傳達(dá)意義,使人但聞其聲,如見其景,必體其情。針對(duì)樂府詩(shī)的文體特點(diǎn),本研究側(cè)重樂府詩(shī)語(yǔ)音層面的翻譯研究,選取樂府詩(shī)歌中的13首作為源語(yǔ)文本,許淵沖、楊憲益和李正栓的英譯版本為目的語(yǔ)文本,結(jié)合語(yǔ)音象似性理論,探究樂府詩(shī)及其翻譯中的音樂性翻譯規(guī)范。為保證研究的客觀性和可靠性,建立了英漢平行語(yǔ)料庫(kù)和語(yǔ)音語(yǔ)料庫(kù),采用數(shù)據(jù)驅(qū)動(dòng)的方法,借助語(yǔ)音合成軟件Interphonic 6.0和語(yǔ)音分析軟件praat對(duì)選取語(yǔ)料及其英譯本的語(yǔ)音語(yǔ)料的語(yǔ)音重復(fù)、語(yǔ)音象征以及節(jié)奏的調(diào)域和音高參數(shù)進(jìn)行數(shù)據(jù)統(tǒng)計(jì)分析。研究結(jié)果表明:(1)在語(yǔ)音重復(fù)方面,主要體現(xiàn)在疊詞和押韻兩個(gè)層面,三個(gè)譯者對(duì)原文中疊詞的處理主要采用了詞重復(fù)、音重復(fù)和押韻三種方法。同時(shí),三個(gè)譯者也都在一定程度上采用了押頭韻、尾韻、雙聲疊韻等方式實(shí)現(xiàn)音義同構(gòu)。在語(yǔ)音重復(fù)的效果方面,許譯本表現(xiàn)得最為出色,其譯本更符合語(yǔ)音象似性所提出的觀點(diǎn),譯文朗朗上口,語(yǔ)音和意義聯(lián)系緊密,符合樂府詩(shī)易于傳唱的特點(diǎn)。(2)在語(yǔ)音象征方面,我們發(fā)現(xiàn)三位譯者中許淵沖譯本中語(yǔ)音象征現(xiàn)象比比皆是,其影射之意也符合原文的感情基調(diào),使詩(shī)歌在吟唱中傳遞真情實(shí)感。(3)在節(jié)奏方面,我們主要對(duì)時(shí)長(zhǎng)和音高進(jìn)行了考查。結(jié)果顯示許譯本仍表現(xiàn)出色。其時(shí)長(zhǎng)較短,易于吟唱,且每首詩(shī)的時(shí)長(zhǎng)特征符合詩(shī)歌的主題。在音高的比較中我們發(fā)現(xiàn),許譯本在調(diào)域的處理上注重與原詩(shī)感情的結(jié)合,且在起伏度上更符合原文的語(yǔ)氣,將情感融入了語(yǔ)音,加強(qiáng)了語(yǔ)音的意義傳達(dá)功能。綜上所述,語(yǔ)音作為詩(shī)歌翻譯中不可或缺的一部分,對(duì)詩(shī)歌意義的傳達(dá)具有重要作用。本研究運(yùn)用語(yǔ)料庫(kù)研究方法,以語(yǔ)音象似性為理論框架,利用樂府詩(shī)起源于民間歌辭,適于傳唱的特點(diǎn),探索樂府詩(shī)及其翻譯中的音樂性,為中國(guó)古代民歌及其翻譯的語(yǔ)音研究提供重要的借鑒價(jià)值。
[Abstract]:Yuefu poetry refers to the poetry of music, from the folk, language popular simple, concise rhythm, flexible and diverse styles, so it has been spread to this day. In order to spread and sing widely, the poem writer often skillfully uses the musical nature of language to convey meaning, so that people can hear it, if they see the scene, they will have their feelings. According to the stylistic characteristics of Yuefu poems, this study focuses on the translation of Yuefu poems at the phonological level, and selects 13 of Yuefu poems as the source language versions, and Xu Yuanchong, Yang Xianyi and Li Zhengzhu's English translation versions as the target language versions. Based on the phonological iconicity theory, this paper explores the musical translation norms in Yuefu poetry and its translation. In order to ensure the objectivity and reliability of the study, the English and Chinese parallel corpus and the phonetic corpus are established, and the data-driven method is adopted. With the aid of the speech synthesis software Interphonic 6.0 and the speech analysis software praat, this paper makes statistical analysis on the phonetic repetition, phonetic symbol, rhythm and pitch parameters of the selected corpus and its English translation. The results show that in the aspect of phonetic repetition, the three translators mainly adopt three methods of repetition, phonetic repetition and rhyme. At the same time, to some extent, the three translators have adopted alliteration, final rhyme, double rhyme and so on to realize phonetic and semantic isomorphism. In terms of the effect of phonological repetition, Xu's version is the best. Its translation is more in line with the point of view put forward by phonological iconicity. In the aspect of phonetic symbolism, we find that phonetic symbolism is ubiquitous in the three translators' versions of Xu Yuanchong, and its innuendo also accords with the emotional tone of the original text. In rhythm, we mainly examine the duration and pitch. The results show that Xu still performs well. Its duration is short, easy to sing, and the length of each poem is in line with the theme of the poem. In the comparison of pitch, we find that Xu's translation pays attention to the combination of emotion with the original poem's emotion, and in terms of fluctuation, it fits the tone of the original text, and integrates emotion into pronunciation and strengthens the function of meaning communication of pronunciation. In conclusion, as an indispensable part of poetry translation, pronunciation plays an important role in the communication of poetic meaning. The present study uses corpus research methods, taking phonetic iconicity as the theoretical framework, and using the characteristics that Yuefu poetry originates from folk songs and is suitable for singing, explores the musicality of Yuefu poetry and its translation. It provides an important reference value for the phonological study of ancient Chinese folk songs and their translation.
【學(xué)位授予單位】：江蘇大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：H315.9

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本文編號(hào)：1784761