【摘要】：意象是客觀物象經(jīng)過創(chuàng)作主體獨(dú)特的情感活動(dòng)而創(chuàng)造出來的一種藝術(shù)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(guó)古典詩學(xué)中重要的表達(dá)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(dá)出詞人深邃細(xì)膩的思想情感。歷來對(duì)李清照詞的英譯研究較多,而對(duì)其詞中意象的翻譯研究則相對(duì)較少,且研究?jī)?nèi)容多局限于單個(gè)意象的翻譯及翻譯策略上,未能超越傳統(tǒng)單個(gè)意象的研究范疇。本文試從皮爾斯闡釋符號(hào)學(xué)這一新的理論視角來探討李清照詞中單個(gè)意象,意象叢與意象群的翻譯問題。 皮爾斯闡釋符號(hào)學(xué)認(rèn)為符號(hào)總是受三個(gè)本體范疇所支配,分別是第一性、第二性和第三性,這三個(gè)范疇構(gòu)成現(xiàn)實(shí)的基本模式。任何形式的符號(hào)都包含從屬于這三個(gè)范疇的關(guān)聯(lián)物(即表現(xiàn)項(xiàng)、對(duì)象和解釋項(xiàng)),這三個(gè)關(guān)聯(lián)物之間的互動(dòng)就是符號(hào)闡釋。通過分析,本文發(fā)現(xiàn)意象本質(zhì)上是一種符號(hào),具有表現(xiàn)項(xiàng)、對(duì)象和解釋項(xiàng)三個(gè)關(guān)聯(lián)物,而意象符號(hào)的翻譯可視為符號(hào)闡釋過程,這就構(gòu)成了本文的理論切入點(diǎn)。 文章首先概述了國(guó)內(nèi)外學(xué)者對(duì)意象的闡釋,同時(shí)回顧了前人針對(duì)意象翻譯研究采取的不同途徑。其次,本文介紹了相關(guān)的符號(hào)學(xué)思想,分別論述了符號(hào)學(xué)和翻譯、意象及意象翻譯之間的關(guān)系。最后文章從符號(hào)學(xué)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(shí)質(zhì),從單個(gè)意象、意象叢和意象群三個(gè)層次具體詳細(xì)地分析了李清照詞中的意象翻譯問題,提出在進(jìn)行中國(guó)古典詩詞中意象的翻譯時(shí)應(yīng)追求最大程度的對(duì)等,以促進(jìn)中國(guó)文學(xué)與文化的對(duì)外傳播。 本文的研究意義在于：從符號(hào)學(xué)視角研究了李清照詞中意象翻譯的對(duì)等問題,提出意象翻譯應(yīng)該在質(zhì)量關(guān)系、指涉關(guān)系和意蘊(yùn)關(guān)系三個(gè)維度實(shí)現(xiàn)對(duì)等,尤其要實(shí)現(xiàn)意蘊(yùn)關(guān)系的對(duì)等,即傳達(dá)出李詞中表達(dá)的思想情感和營(yíng)造的意境。這就超越了傳統(tǒng)的“信、達(dá)、雅”翻譯標(biāo)準(zhǔn)及等值翻譯觀,為意象翻譯的對(duì)等問題提供全新的理論視角。同時(shí)從單個(gè)意象、意象叢和意象群三個(gè)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(qiáng)調(diào)單個(gè)意象對(duì)等的局限性,認(rèn)為意象翻譯實(shí)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(xué)位授予單位】：中南大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2012
【分類號(hào)】：H059;I046

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