本文選題：節(jié)奏 + 音韻��； 參考：《貴州大學(xué)》2016年碩士論文

【摘要】：在翻譯中,由于有效溝通的需要,意義通常被賦予比形式更高的優(yōu)先權(quán)。因此,相對(duì)動(dòng)態(tài)對(duì)等而言,奈達(dá)的形式對(duì)等長(zhǎng)期以來一直被忽略。然而就詩(shī)歌而言,聲音與形式都是詩(shī)歌的組成要素。在某些情況中,一首詩(shī)的聲音與形式甚至傳達(dá)了一定的意義。而且,如果不能再現(xiàn)詩(shī)歌的節(jié)奏與音韻,譯詩(shī)就很難表現(xiàn)原詩(shī)的音律美和結(jié)構(gòu)美。由于聲音與字面意義關(guān)系不是很大,因此,形式對(duì)等應(yīng)該更有可能適用于詩(shī)歌節(jié)奏和音韻的翻譯。對(duì)于詩(shī)歌音律的翻譯實(shí)踐與研究,以往大都依賴譯者本人對(duì)英漢詩(shī)歌格律知識(shí)的掌握,以及對(duì)前人所做研究的借鑒和總結(jié)的基礎(chǔ)上完成的。運(yùn)用形式對(duì)等理論對(duì)詩(shī)歌音律的研究并不多見。鑒于此,本論文運(yùn)用奈達(dá)形式對(duì)等的理論,對(duì)楊德豫譯《拜倫詩(shī)選》中的節(jié)奏和音韻進(jìn)行比較分析,借以論證其在詩(shī)歌翻譯中的可行性。并試圖闡釋如何在保證意義對(duì)等的前提下,盡量做到形式對(duì)等,為今后解決詩(shī)歌翻譯中意義與形式的矛盾問題,以及詩(shī)歌翻譯的實(shí)踐和研究提供借鑒。本論文分為五個(gè)部分,引言部分概述了翻譯過程中意義與形式的矛盾,指出本論文研究的重點(diǎn)不在于意義與形式的優(yōu)先問題,而在于如何利用形式對(duì)等理論,在翻譯過程中盡可能地再現(xiàn)詩(shī)歌的音律美。第二章對(duì)英漢詩(shī)歌翻譯中節(jié)奏與音韻的處理方式,拜倫詩(shī)歌的漢譯,以及楊德豫譯本的研究做了概述。論文的第三章對(duì)英語詩(shī)歌的節(jié)奏和音韻做了必要的介紹。第四章是本論文的重點(diǎn),作者對(duì)所選譯本中的節(jié)奏和音韻與原作進(jìn)行了較為全面的對(duì)比與分析,同時(shí)對(duì)楊譯本所取得的成就與存在的瑕疵進(jìn)行評(píng)價(jià)和總結(jié)。研究結(jié)果表明,楊譯本在很大程度上再現(xiàn)了拜倫詩(shī)歌中的節(jié)奏與音韻。以此得出結(jié)論,在保持原文意義的前提下,形式對(duì)等理論可以用于對(duì)譯詩(shī)音律忠實(shí)原詩(shī)的程度進(jìn)行檢驗(yàn)和評(píng)價(jià),且有助于提高譯詩(shī)的質(zhì)量。
[Abstract]:In translation, due to the need for effective communication, meaning is usually given higher priority than form. Therefore, relative to dynamic equivalence, formal equivalence of Nida has been neglected for a long time. However, as far as poetry is concerned, both sound and form are elements of poetry. In some cases, the sound and form of a poem even convey a certain meaning. Moreover, if the rhythm and rhyme of the poem can not be reproduced, it is difficult to express the rhythmic beauty and the structural beauty of the original poem. Since the relation between sound and literal meaning is not very great, formal equivalence should be more likely to be applied to the translation of poetry rhythm and rhyme. In the past, the translation practice and research of poetry rhythm mostly depended on the translator's own knowledge of the rhythm of poetry between English and Chinese, as well as the reference and summary of the previous studies. It is rare to use formal equivalence theory to study the rhythm of poetry. In view of this, this thesis makes a comparative analysis of rhythm and rhyme in the translation of Byron's Poems by using the theory of Nida's formal equivalence, in order to prove its feasibility in poetry translation. It also attempts to explain how to achieve formal equivalence on the premise of ensuring equivalence of meaning, so as to provide a reference for solving the contradiction between meaning and form in poetry translation in the future, as well as the practice and research of poetry translation. This thesis is divided into five parts. The introduction summarizes the contradiction between meaning and form in translation, pointing out that the focus of this thesis is not on the priority of meaning and form, but on how to make use of formal equivalence theory. In the process of translation, we try to reproduce the rhythmic beauty of poetry as much as possible. Chapter two gives an overview of the approaches to rhythm and rhyme in the translation of English and Chinese poetry, the translation of Byron's poems into Chinese, and the study of the translation of Yang Deyu. Chapter three introduces the rhythm and rhyme of English poetry. The fourth chapter is the focus of this thesis. The author makes a comprehensive comparison and analysis of the rhythm and rhyme of the selected translation and the original works. At the same time, the author evaluates and summarizes the achievements and defects of Yang's translation. The results show that Yang's translation reproduces to a great extent the rhythm and rhyme in Byron's poems. On the premise of maintaining the meaning of the original text, the formal equivalence theory can be used to test and evaluate the degree of fidelity to the original poem, and to improve the quality of the translated poem.
【學(xué)位授予單位】：貴州大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2016
【分類號(hào)】：H315.9;I046
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本文編號(hào)：2112027