本文選題：關(guān)聯(lián)理論 + 最佳關(guān)聯(lián)�。� 參考：《電子科技大學(xué)》2014年碩士論文

【摘要】：中華文學(xué)綿延數(shù)千年,它在宋代獨(dú)有的歷史人文環(huán)境中,創(chuàng)造了詩(shī)歌發(fā)展的又一次高峰——宋詞。宋代詞人們以一種全新的文人心態(tài)——理智、穩(wěn)健、恬淡、平和,創(chuàng)作了大量詞作。根據(jù)創(chuàng)作風(fēng)格的不同,宋詞分為“婉約詞”和“豪放詞”。在這些詞作中,占主導(dǎo)地位的意象與之前唐詩(shī)中的長(zhǎng)河落日、匹馬單弓等不同,“春,江,花,月,夜”等主體大意象成為了創(chuàng)作者們書寫真性情與真感性的寄托。而每組大意象又可以分為無(wú)數(shù)的分支小意象。如果把宋詞比作一株花,那么,各種層次的大小意象,就是這花賴以盛放的根,莖,葉。一闕宋詞,就是因?yàn)檫@些層層意象的串聯(lián),并置,映射和反襯,從而生出不同于漢賦、唐詩(shī)和元曲的意境美。因此,宋詞翻譯應(yīng)以意象的合理譯介和傳遞為著眼點(diǎn)。本文旨在拋“花”引“譯”,從關(guān)聯(lián)翻譯的視角,研究宋詞花意象的翻譯。在關(guān)聯(lián)翻譯理論框架中,翻譯包括兩個(gè)過(guò)程。其一是尋找關(guān)聯(lián)的明示推理過(guò)程,其二為動(dòng)態(tài)順應(yīng)目標(biāo)語(yǔ)的認(rèn)知語(yǔ)境,并在譯語(yǔ)中創(chuàng)建最佳關(guān)聯(lián),讓譯語(yǔ)讀者解讀原作者信息意圖的過(guò)程。在宋詞花意象的翻譯中,譯者首先在閱讀原詞時(shí),在原文的認(rèn)知環(huán)境中尋找理解花意象的最佳關(guān)聯(lián)。同時(shí),譯者作為原文作者和譯文讀者之間實(shí)現(xiàn)跨文化、跨語(yǔ)言交際互動(dòng)的一個(gè)媒介,在確知原作者的信息意圖和交際意圖后,將調(diào)動(dòng)自己所有的認(rèn)知資源并發(fā)揮主體意識(shí),在譯文中創(chuàng)建充分的關(guān)聯(lián)線索,達(dá)到最佳關(guān)聯(lián)度的傳遞,得妥帖的宋詞花意象譯文,滿足譯語(yǔ)讀者欣賞理解花意象的認(rèn)知期待與審美期待。本文選取宋詞花意象翻譯研究作為切入口,從關(guān)聯(lián)翻譯理論的視角,通過(guò)不同譯本的比較分析,歸納總結(jié),文獻(xiàn)研究,譯例分析,探尋宋詞花意象的翻譯思考路線,從而為宋詞的意象翻譯做一些拋“花”引“譯”式的探索。本文將宋詞中的花意象按照意象的表現(xiàn)方法之不同分為四類,即,描述性花意象,比喻性花意象,象征性花意及典故性花意象。從關(guān)聯(lián)翻譯的視角,分別探索四類花意象的翻譯思考路線。試圖在關(guān)理翻譯理論的總體架構(gòu)下,推導(dǎo)出宋詞花意象翻譯的思考過(guò)程,即譯者應(yīng)當(dāng)如何去確定“最佳關(guān)聯(lián)”,并且通過(guò)在譯語(yǔ)中的相應(yīng)語(yǔ)言動(dòng)態(tài)處理,實(shí)現(xiàn)花意象譯介中“最佳關(guān)聯(lián)”的傳遞。
[Abstract]:The Chinese literature lasted for thousands of years. In the unique historical and humanistic environment of the Song Dynasty, it created another peak in the development of poetry, the Song Ci. The Song Dynasty Ci Poetry wrote a lot of words with a new kind of literati mentality, rational, steady, tranquil and peaceful. According to the different styles of creation, Song Ci was divided into "graceful words" and "bold and bold words". In these words, the dominant image is different from the long river day in the Tang poetry, the single bow of the horse, and the "spring, the river, the flower, the moon, the night". The image of the size of the species is the root, the stem and the leaf which the flowers depend on. The Song Ci poetry is different from the Han Fu, the Tang poetry and the Yuan Qu. Therefore, the translation of the Song Ci should be translated and transferred in a reasonable way. From the perspective of relevance translation, the translation of the flower image of Song Ci is studied. In the framework of relevance translation theory, translation consists of two processes. One is to search for the process of explicit reasoning in relevance, the second is to dynamically conform to the cognitive context of the target language, and to create the best Association in the target language, so that the readers can interpret the original author's information intention. In the translation of the word flower image, the translator first seeks to find the best connection in the understanding of the flower image in the cognitive environment of the original text when he reads the original word. At the same time, the translator, as a medium of intercultural and interlingual interaction between the original and the translation readers, will mobilize all of the original author's information intention and communicative intention. The cognitive resources and the subjective awareness, the creation of full relevance clues in the translation, the transmission of the best relevance, the appropriate translation of the Song Ci flower image, and the cognitive expectation and aesthetic expectation of the interpreter readers to appreciate and understand the flower image. Through the comparative analysis of the different translations, the summary, the literature study and the analysis of the translation cases, the paper explores the translation thinking route of the flower image of the Song Ci, thus making some exploration for the translation of "flower" for the image translation of the Song Ci. This paper divides the flower images in the Song Ci into four categories according to the different expression methods of the images, namely, descriptive flower images, and the comparison of the descriptive flower images. From the perspective of relevance translation, the translation thinking route of the four kinds of flower images is explored from the perspective of relevance translation. The process of thinking about the translation of the flower image in the Song Ci poetry is deduced under the general framework of the theory of Guan Li translation, that is, how the translator should determine the "best relevance" and through the phase in the target language. We should dynamically deal with language so as to realize the transmission of the best relevance in the translation of flower images.

【學(xué)位授予單位】：電子科技大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：H315.9;I046

【參考文獻(xiàn)】

相關(guān)期刊論文 前1條

1 林克難;關(guān)聯(lián)翻譯理論簡(jiǎn)介[J];中國(guó)翻譯;1994年04期

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本文編號(hào)：1821529