【摘要】：《詩經(jīng)》是世界上最古老的詩集之一。作為儒家經(jīng)典之一和我國最古老的教科書,《詩經(jīng)》在中國文化中占據(jù)著相當重要的地位。其英譯必定會為西方人打開一個了解和欣賞傳統(tǒng)文化的窗口。因此,把《詩經(jīng)》翻譯成具有意美、音美和形美的詩篇,對東西文化的交流具有不可低估的意義。 迄今為止,幾乎每一種主要語言都有自己的《詩經(jīng)》譯本。在《詩經(jīng)》的眾多英譯本中,本課題選擇了兩個全譯本進行比較研究。這兩個英譯本分別是：威廉·詹寧斯于1891年出版的英譯本和許淵沖于1994年出版的英譯本。這兩個譯本均為韻體譯本。許淵沖是中國譯者,威廉·詹寧斯是英國譯者,二人各自的文化背景和翻譯動機不同,翻譯效果也有差別,這為對比研究二者對《詩經(jīng)》修辭手法的翻譯提供了可行性。 修辭手法在語言表達的過程中發(fā)揮著極其重要的作用。據(jù)統(tǒng)計,《詩經(jīng)》中的每一首詩都運用了一定的修辭手法,共有三十多種,其中很多都是首創(chuàng)。修辭手法豐富了《詩經(jīng)》的內容,增強了其語言的感染力。因此,翻譯過程中對于修辭手法的處理也直接影響著譯作的水平。而翻譯不僅僅是兩種語言的簡單轉換,還涉及到對語言的音、形、意等各個方面的處理。對于文學翻譯,特別是詩歌翻譯,無論譯者的翻譯目的、原則和方法如何不同,他們都應該盡量再現(xiàn)原作的美。本課題選用許淵沖的“三美”理論為基礎分析許淵沖和威廉·詹寧斯對《詩經(jīng)》修辭手法的翻譯。在“三美”理論中,許淵沖提出翻譯詩歌要盡可能傳達原詩的“意美”、“音美”和“形美”使詩歌在翻譯中保持原文的風貌。 本論文在系統(tǒng)闡述許淵沖的“三美理論”、翻譯美學的內涵和簡要分析中西方詩學、《詩經(jīng)》原作語言的“三美”以及十種修辭手法的基礎上,從翻譯背景、翻譯目的、譯者翻譯理論和公眾評價等方面分析許淵沖和威廉·詹寧斯譯本,并選用譯本中的翻譯實例,從意美、音美和形美三個方面,對許淵沖和威廉·詹寧斯譯本中的修辭手法翻譯進行了比較分析。
[Abstract]:The Book of songs is one of the oldest collections of poetry in the world. As one of the Confucian classics and the oldest textbook in China, the Book of songs plays an important role in Chinese culture. English translation will certainly open a window for westerners to understand and appreciate traditional culture. Therefore, the translation of the Book of songs into poems with beauty of meaning, beauty of sound and beauty of form can not be underestimated for the exchange of eastern and western cultures. So far, almost every major language has its own version of the Book of songs. Among the numerous English versions of the Book of songs, this thesis chooses two complete versions for comparative study. The two English versions are: William Jennings' English version in 1891 and Xu Yuanchong's English version in 1994. Both versions are rhyming versions. Xu Yuanchong is a Chinese translator and William Jennings is a British translator. They have different cultural backgrounds, different translation motives and different translation effects, which provides a feasibility for the comparative study of the translation of rhetoric devices in the Book of songs. Rhetoric plays an extremely important role in the process of language expression. According to statistics, every poem in the Book of songs uses a certain figure of speech, a total of more than 30, many of which are the first. Rhetoric enriches the contents of the Book of songs and enhances the appeal of its language. Therefore, the handling of rhetorical devices directly affects the level of translation. Translation is not only a simple transformation of two languages, but also involves the processing of sounds, shapes, meanings and so on. For literary translation, especially poetry translation, no matter how different the translator's purpose, principles and methods are, they should try their best to reproduce the beauty of the original work. Based on Xu Yuanchong's "three Beauty" theory, this paper analyzes the rhetorical translation of the Book of songs by Xu Yuanchong and William Jennings. In the theory of "three beauties", Xu Yuanchong proposed that the translation of poetry should convey the "beauty of meaning" of the original poem as much as possible, "beauty of sound" and "beauty of form" so that poetry can maintain the style and appearance of the original text in translation. On the basis of a systematic analysis of Xu Yuanchong's "three Beauty Theory", the connotation of translation aesthetics and a brief analysis of poetics in China and the West, the "three Beauty" in the original language of the Book of songs and the ten rhetorical devices, this thesis is based on the background and purpose of translation. This paper analyzes the translation of Xu Yuanchong and William Jennings from the aspects of translation theory and public evaluation, and selects the translation examples from three aspects: Italian beauty, phonetic beauty and metaphysical beauty. This paper makes a comparative analysis of the rhetorical translation of Xu Yuanchong and William Jennings.
【學位授予單位】：青島科技大學
【學位級別】：碩士
【學位授予年份】：2013
【分類號】：H315.9;I046

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