本文選題：不可譯 + 漢語(yǔ)視角�。� 參考：《西安電子科技大學(xué)》2013年碩士論文

【摘要】：作為中國(guó)文學(xué)瑰寶的古典詩(shī)歌，在中外文化交流的過(guò)程中起著不可或缺的作用。自從19世紀(jì)晚期第一部英譯漢語(yǔ)古典詩(shī)歌的誕生到今天繁榮的翻譯事業(yè)，英譯漢語(yǔ)古典詩(shī)歌的歷史不算太長(zhǎng)，但是伴隨其成長(zhǎng)過(guò)程的可譯和不可譯問(wèn)題一直存在。 本文從漢語(yǔ)本身出發(fā)，回歸翻譯第一步——源語(yǔ)理解階段，試圖通過(guò)展示源語(yǔ)作為詩(shī)歌媒介的各種特質(zhì)，展示漢語(yǔ)古典詩(shī)歌在翻譯過(guò)程中的必然損失，試圖提出各種損失，也就是通常所討論的不可譯性問(wèn)題的補(bǔ)償問(wèn)題。 漢語(yǔ)作為一種不同于英語(yǔ)的聲調(diào)語(yǔ)言，一字一音節(jié)，在長(zhǎng)久的演變過(guò)程中形成了自己獨(dú)特的詩(shī)律模式和美感特質(zhì)，從最早的四言古詩(shī)，，到后來(lái)成熟的唐詩(shī)，再到后來(lái)的宋詞元曲以及小令，形式和格律發(fā)展日漸完善，其音樂(lè)性和美感與其形式密不可分，互為因果。漢語(yǔ)詩(shī)歌的美感除了本身意義之外，其聲律亦是不可忽視的文學(xué)載體，這種內(nèi)在因素使?jié)h語(yǔ)詩(shī)歌在轉(zhuǎn)化成別的語(yǔ)言時(shí)，很難兼及形、聲、意完備。雖然長(zhǎng)久以來(lái)各種努力和嘗試層出不窮，但都不能有效解決不可譯問(wèn)題。本文作者以翻譯批評(píng)身份出發(fā)，先考察古今中外學(xué)者對(duì)不可譯問(wèn)題的探討，進(jìn)而深入漢語(yǔ)語(yǔ)言本身，討論漢語(yǔ)古典詩(shī)歌形式的演變過(guò)程，分別論及形式和因形式而帶來(lái)的聲音美感，同時(shí)兼及在漢語(yǔ)詩(shī)歌形成過(guò)程中的詩(shī)歌創(chuàng)作傳統(tǒng)，各種常規(guī)意象和思維模式，從而提供一種對(duì)漢語(yǔ)本身的深入了解，從翻譯的角度來(lái)說(shuō)，確保翻譯第一步不至于失之毫厘。 本文最后提出作者自己的幾條補(bǔ)償建議，靈活處理譯文和原文，當(dāng)形式在源語(yǔ)中不允許改動(dòng)的情況下，最好要在譯語(yǔ)中再現(xiàn)原文形式；中西雙方譯者的協(xié)作，在作者看來(lái)應(yīng)該是翻譯中減少損失的相對(duì)理想模式。
[Abstract]:As a treasure of Chinese literature, classical poetry plays an indispensable role in the process of cultural exchange between China and foreign countries. Since the birth of the first English-Chinese classical poetry in the late 19th century and its prosperous translation today, the history of English-Chinese classical poetry is not too long, but the problems of translatability and untranslatability have always existed in the course of its growth. From the perspective of Chinese itself, this paper returns to the first step of translation, the source language understanding stage, and tries to show the inevitable loss of classical Chinese poetry in the process of translation by displaying the characteristics of the source language as a poetic medium, and trying to propose various losses. This is the problem of compensation for untranslatability. As a tone language different from English, Chinese has formed its own unique poetic pattern and aesthetic feeling in the long evolution process, from the earliest four-character ancient poetry to the later mature Tang poetry. Then to the later Song ci Yuan qu and Xiao Ling, the form and rhythm of the development of the increasingly perfect, its musical and aesthetic sense and its form is inseparable, cause and effect each other. Besides its own meaning, the aesthetic feeling of Chinese poetry is also a literary carrier which can not be ignored. This internal factor makes it difficult for Chinese poetry to be transformed into other languages. Although efforts and attempts have been emerging for a long time, they can not effectively solve the problem of untranslatability. In the capacity of translation criticism, the author first explores the untranslatable problems of scholars both at home and abroad, and then goes deep into the Chinese language itself and discusses the evolution of the forms of Chinese classical poetry. It discusses the form and the sound beauty brought about by the form, at the same time, the tradition of poetry creation, various conventional images and thinking patterns in the process of the formation of Chinese poetry, thus providing a deep understanding of the Chinese language itself. From the perspective of translation, make sure that the first step of translation is not lost. At the end of the paper, the author puts forward some compensation suggestions for flexible handling of the target text and the original text. When the form is not allowed to be changed in the source language, it is better to reproduce the original form in the target language, and the cooperation of the translators between China and the West. In the author's view, it should be a relatively ideal model to reduce the loss in translation.
【學(xué)位授予單位】：西安電子科技大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類號(hào)】：H315.9;I046

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本文編號(hào)：2096913