本文選題：意象 + 文化意象��； 參考：《西華大學(xué)》2017年碩士論文

【摘要】：意象的運(yùn)用是中國古典詩歌的主要特征之一。由于中國文化博大精深,詩人在作品中所運(yùn)用的這些形象生動(dòng)豐富多彩的意象往往包含著寓意深刻的文化內(nèi)涵,如何將隱藏在意象之后的文化恰當(dāng)準(zhǔn)確地表現(xiàn)出來,一直以來都是中國古典詩歌英譯的難點(diǎn)之一。對于意象的研究,古今中外的學(xué)者都有一定的看法和結(jié)論,但對于中國古典詩歌中包含濃郁文化色彩的意象的研究卻寥寥無幾。直到1999年,我國著名翻譯家謝天振先生首次在其專著《譯介學(xué)》中借“煙花三月下?lián)P州”中的“揚(yáng)州”為例,提出了“文化意象”這一新術(shù)語。隨即引起了翻譯界的討論和重視。通過閱讀前人的學(xué)術(shù)成果,本文作者有三點(diǎn)新發(fā)現(xiàn):一,在英譯中國古典詩歌的過程中,大多數(shù)譯員并沒有清晰的認(rèn)識到意象與文化意象的不同之處,所譯出的作品沒有展現(xiàn)出該意象之后的文化內(nèi)涵。二,多數(shù)對文化意象的研究,雖然討論角度不同,但都是對其表現(xiàn)形式和翻譯方法的研究。三,很多研究成果中并沒有對古典詩歌中文化意象的理論價(jià)值進(jìn)行深入的分析。文化意象作為中國古典詩歌中的精髓,借助不同的意象,傳遞出深刻的文化,喚起讀者心中獨(dú)特的共鳴,以達(dá)到更高層次的文學(xué)效果,因此應(yīng)該引起廣大翻譯學(xué)者的重視。譯員們應(yīng)深入全面研究中國古典詩歌中所包含的文化意象,將其提升到理論高度,指導(dǎo)翻譯實(shí)踐以實(shí)現(xiàn)中國文化高質(zhì)量向外傳播的目標(biāo)。鑒于此,本文作者在已有研究成果的基礎(chǔ)上,通過分析意象在中國和西方的發(fā)展,從文化意象文化意象與一般意象的角度出發(fā),并以唐代詩人白居易的《長恨歌》為例,證明以德國翻譯家漢斯·費(fèi)爾米的翻譯目的論為指導(dǎo)并結(jié)合西班牙翻譯家艾克西拉的十一項(xiàng)翻譯策略是可以有效地翻譯出中國古典詩歌中的文化意象并對外傳播中國的詩歌文化。本文作者進(jìn)而希望在此理論和翻譯策略的影響下,能有效指導(dǎo)中國詩歌中文化意象的翻譯,提升中國古典詩歌的翻譯質(zhì)量。
[Abstract]:The use of imagery is one of the main features of Chinese classical poetry. Because the Chinese culture is extensive and profound, the poets use these vivid images in their works? Rich and colorful images often contain profound cultural connotations, how to hide behind the image of the appropriate culture? It has always been one of the difficulties in translating Chinese classical poetry into English. Scholars at all times and in all over the world have some opinions and conclusions on the study of image, but there are few researches on the image of Chinese classical poetry which contains rich cultural color. Until 1999, Xie Tianzhen, a famous translator in China, first proposed the new term of "cultural image" in his monograph, "Translation and introduction", with the example of "Yangzhou" in "Yangzhou in March of fireworks". It has aroused the discussion and attention of the translation circles. By reading the academic achievements of previous scholars, the author has three new findings: first, in the process of translating Chinese classical poetry into English, most interpreters do not clearly recognize the differences between images and cultural images. The translated works do not reveal the cultural connotation after the image. Secondly, most of the researches on cultural imagery, though from different angles, are all about its forms of expression and translation methods. Third, the theoretical value of cultural imagery in classical poetry has not been deeply analyzed in many research results. As the quintessence of Chinese classical poetry, cultural image conveys profound culture with the help of different images, evokes the readers' unique resonance in order to achieve a higher level of literary effect. Therefore, translation scholars should attach importance to it. Translators should thoroughly study the cultural images contained in classical Chinese poetry, raise them to a theoretical level, and guide translation practice in order to achieve the goal of high-quality outward dissemination of Chinese culture. In view of this, the author based on the existing research results, through the analysis of the development of imagery in China and the West, from the culture? Imagery? From the perspective of cultural image and general image, and taking the Tang Dynasty poet Bai Juyi's Song of Eternal resentment as an example, It is proved that guided by the Skopos theory of German translator Hans Fermi and combined with the eleven translation strategies of Spanish translator Aksila, the cultural images in Chinese classical poetry can be effectively translated and disseminated to the outside world. Chinese poetic culture Under the influence of this theory and translation strategies, the author hopes to effectively guide the translation of cultural images in Chinese poetry and improve the translation quality of Chinese classical poetry.
【學(xué)位授予單位】：西華大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：H315.9;I046

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相關(guān)期刊論文 前1條

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本文編號：1817313