本文選題：《古詩十九首》 + 疊字　； 參考：《中南大學(xué)》2010年碩士論文

【摘要】：疊字被稱為“人類童年時(shí)期的語言”,起源于人類模仿的天性和與生俱來的節(jié)奏感,它形式整齊、音節(jié)和諧、表意生動(dòng),是中國古典詩歌中廣泛使用而又獨(dú)具特色的修辭手段。疊字的運(yùn)用,也是被譽(yù)為“五言之冠冕”的《古詩十九首》最為突出的特點(diǎn)之一,它不僅具有整齊的形式美,曲折回環(huán)的音樂美,還具有反復(fù)低徊、深致婉轉(zhuǎn)的情感意象美,是形美、音美和意美的完美結(jié)合,使詩歌具有“一字千金”的力量。 許淵沖提出了詩歌翻譯的“三美”理論,認(rèn)為中國古典詩歌是“意美”、“音美”和“形美”的完美結(jié)合,翻譯中應(yīng)盡可能地再現(xiàn)原詩的“三美”。這一理論具有深厚的歷史文化淵源,抓住了中國古典詩歌最本質(zhì)的特點(diǎn)：意美、音美和形美,抓住了詩歌翻譯的本質(zhì)：最大限度地體現(xiàn)這“三美”,對詩歌翻譯產(chǎn)生了巨大影響。 本文從“三美”角度出發(fā),對《古詩十九首》中二十三個(gè)全譯或選譯本的疊字翻譯進(jìn)行對比研究,在探析古詩中疊字的形美、音美和意美的基礎(chǔ)上,討論如何在翻譯中再現(xiàn)原詩中疊字的形美和音美,同時(shí)又最大限度地保留疊字的意美。 本文首先介紹了疊字的定義、起源和功能,并對疊字翻譯特別是古詩中的疊字翻譯現(xiàn)狀進(jìn)行了概括,然后對“三美”理論的具體內(nèi)容、歷史淵源以及“三美”的可譯性進(jìn)行了探討。由于《古詩十九首》強(qiáng)烈的藝術(shù)魅力和對中國古典詩歌的巨大影響,許多譯者全部或部分翻譯了《古詩十九首》。本文隨后對《古詩十九首》及其英譯本進(jìn)行了介紹,并在此基礎(chǔ)上對多個(gè)英譯本的疊字翻譯進(jìn)行了分析,討論了再現(xiàn)疊字的形美、音美和意美的不同方式,指出疊字的“意美”可以通過保留疊字意象、替換疊字意象、舍棄疊字意象等方法進(jìn)行再現(xiàn)；疊字的“音美”可以通過以擬聲譯擬聲、頭韻、尾韻、腹韻等形式進(jìn)行再現(xiàn)；疊字的“形美”可以通過以疊字譯疊字、空間安排、替換疊字形式等方法得到再現(xiàn)。 翻譯中疊字“三美”的再現(xiàn)對詩歌“三美”的再現(xiàn)具有重要意義�！豆旁娛攀住返亩喾N譯本證明,譯者可以使用各種手段,最大限度地再現(xiàn)原詩中疊字的形美和音美,同時(shí)最大限度地傳達(dá)其意美。
[Abstract]:The repetition of characters is called "the language of human childhood", which originates from the nature of human imitation and the inherent rhythm. It has a neat form, harmonious syllables and vivid ideographic meaning. It is a widely used and unique rhetorical device in Chinese classical poetry. The use of reduplicated characters is also one of the most prominent features of the Nineteen Ancient Poems known as "the Coronation of the five characters". It has not only the beauty of neat form, the musical beauty of twists and turns, but also the beauty of emotional imagery that is repeatedly low and deep and graceful. It is the perfect combination of beauty of form, beauty of sound and beauty of meaning, which makes poetry have the power of "one word a thousand gold". Xu Yuanchong puts forward the theory of "three beauties" in poetry translation, which holds that Chinese classical poetry is a perfect combination of "beauty of meaning", "beauty of sound" and "beauty of form", and that the "three beauty" of the original poem should be reproduced as much as possible in translation. This theory has a profound historical and cultural origin, which captures the most essential features of Chinese classical poetry: the beauty of meaning, the beauty of sound and the beauty of form, and the essence of poetry translation. It has a great influence on poetry translation. From the angle of "three beauties", this paper makes a comparative study on the translation of the 23 complete or selected versions of the Ancient Poems, on the basis of the analysis of the beauty of the form, the beauty of the sound and the beauty of the meaning of the reduplicated characters in the ancient poems. This paper discusses how to reproduce the beauty of form and sound of the reduplicated characters in the original poem in translation, while preserving the beauty of the meaning of the reduplicated characters to the maximum extent. This paper first introduces the definition, origin and function of reduplicated characters, and generalizes the present situation of reduplicated characters translation, especially in ancient poetry, and then introduces the concrete contents of the "Sanmei" theory. The historical origin and translatability of the three beauties are discussed. Because of the strong artistic charm of Nineteen Ancient Poems and their great influence on Chinese classical poetry, many translators have translated the Nineteen Ancient Poems in whole or in part. On the basis of the introduction of Nineteen Ancient Poems and their English versions, this paper analyzes the reduplicated translation of several English versions, and discusses the different ways of reproducing the beauty of the form, the beauty of sound and the beauty of meaning. It is pointed out that the "beauty of meaning" of reduplicated characters can be reproduced by retaining the image of reduplicated characters, replacing the images of reduplicated characters and abandoning the image of reduplicated characters, while the "beauty of sound" of reduplicated characters can be reproduced in the form of onomatopoeia, alliteration, ending rhyme, ventral rhyme and so on. The beauty of reduplicated characters can be reproduced by means of rewriting, spatial arrangement and replacement of reduplicated characters. The reproduction of the reduplicated word "Sanmei" is of great significance to the reproduction of the poem "Sanmei". The more than twenty versions of the Nineteen Ancient Poems prove that the translator can use various means to maximize the reproduction of the beauty of the form and the sound of the reduplicated characters in the original poem. At the same time, to the maximum extent of its sense of beauty.
【學(xué)位授予單位】：中南大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2010
【分類號】：H315.9;I046

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