李清照詞中意象翻譯的符號學視域
發(fā)布時間：2018-11-05 11:28
【摘要】：意象是客觀物象經(jīng)過創(chuàng)作主體獨特的情感活動而創(chuàng)造出來的一種藝術形象。主觀的“意”和客觀的“象”的結(jié)合,融入了詩人思想感情的物象。因此,意象是中國古典詩學中重要的表達概念,意象翻譯在古典詩詞翻譯中占有重要地位。李清照,作為婉約派的典型代表,其詞清麗典雅,深文隱蔚,以委婉的情思和超脫的情懷構(gòu)造出豐富充盈、清新精致的意象,表達出詞人深邃細膩的思想情感。歷來對李清照詞的英譯研究較多,而對其詞中意象的翻譯研究則相對較少,且研究內(nèi)容多局限于單個意象的翻譯及翻譯策略上,未能超越傳統(tǒng)單個意象的研究范疇。本文試從皮爾斯闡釋符號學這一新的理論視角來探討李清照詞中單個意象,意象叢與意象群的翻譯問題。 皮爾斯闡釋符號學認為符號總是受三個本體范疇所支配,分別是第一性、第二性和第三性,這三個范疇構(gòu)成現(xiàn)實的基本模式。任何形式的符號都包含從屬于這三個范疇的關聯(lián)物(即表現(xiàn)項、對象和解釋項),這三個關聯(lián)物之間的互動就是符號闡釋。通過分析,本文發(fā)現(xiàn)意象本質(zhì)上是一種符號,具有表現(xiàn)項、對象和解釋項三個關聯(lián)物,而意象符號的翻譯可視為符號闡釋過程,這就構(gòu)成了本文的理論切入點。 文章首先概述了國內(nèi)外學者對意象的闡釋,同時回顧了前人針對意象翻譯研究采取的不同途徑。其次,本文介紹了相關的符號學思想,分別論述了符號學和翻譯、意象及意象翻譯之間的關系。最后文章從符號學視域探討了李清照詞中意象的翻譯問題,討論了李詞中意象翻譯的實質(zhì),從單個意象、意象叢和意象群三個層次具體詳細地分析了李清照詞中的意象翻譯問題,提出在進行中國古典詩詞中意象的翻譯時應追求最大程度的對等,以促進中國文學與文化的對外傳播。 本文的研究意義在于：從符號學視角研究了李清照詞中意象翻譯的對等問題,提出意象翻譯應該在質(zhì)量關系、指涉關系和意蘊關系三個維度實現(xiàn)對等,尤其要實現(xiàn)意蘊關系的對等,即傳達出李詞中表達的思想情感和營造的意境。這就超越了傳統(tǒng)的“信、達、雅”翻譯標準及等值翻譯觀,為意象翻譯的對等問題提供全新的理論視角。同時從單個意象、意象叢和意象群三個層次來研究李詞中意象的翻譯問題,突破了以往意象翻譯研究強調(diào)單個意象對等的局限性,認為意象翻譯實際上是在意象叢和意象群整體框架下意象的再造與意象的文化移植,這就為意象翻譯提供了更為開闊的視野。
[Abstract]:Image is an artistic image created by the unique emotional activities of the creative subject. The combination of subjective "meaning" and objective "image" is integrated with the poet's thoughts and feelings. Therefore, image is an important expression concept in Chinese classical poetics, and image translation plays an important role in the translation of classical poetry. Li Qingzhao, as a typical representative of the politeness school, whose words are elegant and elegant, profound and subtle, construct a rich, fresh and delicate image with euphemism and transcendent feelings, and express the profound and delicate thoughts and feelings of the poet. There have always been more studies on the translation of Li Qingzhao's words into English, while the studies on the images in Li Qingzhao's ci have been relatively few, and most of the studies are confined to the translation and translation strategies of single images, which fail to exceed the study category of traditional single images. This paper attempts to explore the translation of individual images, image clusters and image groups in Li Qingzhao's ci from the perspective of Pierce's interpretation of semiotics. Pierce's hermeneutic semiotics holds that symbols are always dominated by three ontological categories, namely, primary, second and third, which constitute the basic mode of reality. Any form of symbol consists of related objects (i.e. presentation items, objects and explanatory items) belonging to these three categories, and the interaction between them is symbolic interpretation. Through analysis, it is found that the image is essentially a symbol, with three related objects: expressive item, object and explanatory item, and the translation of image symbol can be regarded as the process of symbolic interpretation, which constitutes the theoretical breakthrough point of this thesis. This paper first summarizes the interpretation of imagery by scholars at home and abroad, and reviews the different approaches taken by predecessors in the study of image translation. Secondly, this paper introduces the semiotics thoughts and discusses the relationship between semiotics and translation, image and image translation. Finally, the paper discusses the translation of images in Li Qingzhao's ci from the perspective of semiotics, discusses the essence of the translation of images in Li's ci, and discusses the translation of individual images from the perspective of semiotics. This paper analyzes in detail the problem of image translation in Li Qingzhao's ci at the three levels of image cluster and image group, and puts forward that the translation of image in classical Chinese poetry should seek maximum equivalence in order to promote the dissemination of Chinese literature and culture to the outside world. The research significance of this thesis lies in: from the perspective of semiotics, this paper studies the equivalence of image translation in Li Qingzhao's ci words, and puts forward that image translation should be based on three dimensions: quality relation, signified relation and implication relation. In particular, we should realize the equivalence of implication relationship, that is, convey the thoughts and feelings expressed in Li's ci and create the artistic conception. This goes beyond the traditional translation standards and equivalent translation concepts, and provides a new theoretical perspective for the equivalence of image translation. At the same time, this paper studies the translation of images in Li ci from the three levels of single image, image cluster and image group, which breaks through the limitations of previous studies on image translation emphasizing the equivalence of individual images. It is believed that image translation is in fact the reconstruction of images and the cultural transplantation of images within the framework of image clusters and image groups which provides a broader perspective for image translation.
【學位授予單位】：中南大學
【學位級別】：碩士
【學位授予年份】：2012
【分類號】：H059;I046
本文編號：2311931
[Abstract]:Image is an artistic image created by the unique emotional activities of the creative subject. The combination of subjective "meaning" and objective "image" is integrated with the poet's thoughts and feelings. Therefore, image is an important expression concept in Chinese classical poetics, and image translation plays an important role in the translation of classical poetry. Li Qingzhao, as a typical representative of the politeness school, whose words are elegant and elegant, profound and subtle, construct a rich, fresh and delicate image with euphemism and transcendent feelings, and express the profound and delicate thoughts and feelings of the poet. There have always been more studies on the translation of Li Qingzhao's words into English, while the studies on the images in Li Qingzhao's ci have been relatively few, and most of the studies are confined to the translation and translation strategies of single images, which fail to exceed the study category of traditional single images. This paper attempts to explore the translation of individual images, image clusters and image groups in Li Qingzhao's ci from the perspective of Pierce's interpretation of semiotics. Pierce's hermeneutic semiotics holds that symbols are always dominated by three ontological categories, namely, primary, second and third, which constitute the basic mode of reality. Any form of symbol consists of related objects (i.e. presentation items, objects and explanatory items) belonging to these three categories, and the interaction between them is symbolic interpretation. Through analysis, it is found that the image is essentially a symbol, with three related objects: expressive item, object and explanatory item, and the translation of image symbol can be regarded as the process of symbolic interpretation, which constitutes the theoretical breakthrough point of this thesis. This paper first summarizes the interpretation of imagery by scholars at home and abroad, and reviews the different approaches taken by predecessors in the study of image translation. Secondly, this paper introduces the semiotics thoughts and discusses the relationship between semiotics and translation, image and image translation. Finally, the paper discusses the translation of images in Li Qingzhao's ci from the perspective of semiotics, discusses the essence of the translation of images in Li's ci, and discusses the translation of individual images from the perspective of semiotics. This paper analyzes in detail the problem of image translation in Li Qingzhao's ci at the three levels of image cluster and image group, and puts forward that the translation of image in classical Chinese poetry should seek maximum equivalence in order to promote the dissemination of Chinese literature and culture to the outside world. The research significance of this thesis lies in: from the perspective of semiotics, this paper studies the equivalence of image translation in Li Qingzhao's ci words, and puts forward that image translation should be based on three dimensions: quality relation, signified relation and implication relation. In particular, we should realize the equivalence of implication relationship, that is, convey the thoughts and feelings expressed in Li's ci and create the artistic conception. This goes beyond the traditional translation standards and equivalent translation concepts, and provides a new theoretical perspective for the equivalence of image translation. At the same time, this paper studies the translation of images in Li ci from the three levels of single image, image cluster and image group, which breaks through the limitations of previous studies on image translation emphasizing the equivalence of individual images. It is believed that image translation is in fact the reconstruction of images and the cultural transplantation of images within the framework of image clusters and image groups which provides a broader perspective for image translation.
【學位授予單位】：中南大學
【學位級別】：碩士
【學位授予年份】：2012
【分類號】：H059;I046
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