【摘要】： 當(dāng)前中國(guó)古詩(shī)英譯的多元互補(bǔ)的局面推動(dòng)了詩(shī)歌翻譯理論的發(fā)展。但重視詩(shī)歌語(yǔ)言形式而忽略譯詩(shī)整體美、重視文本對(duì)比而(?)視譯者主體性的弊病依然存在,阻止了詩(shī)歌翻譯的進(jìn)一步發(fā)展。 鑒于此,本文試圖運(yùn)用格式塔意象再造理論來(lái)分析古詩(shī)英譯,指出古詩(shī)英譯的重點(diǎn)在于格式塔意象再造以解決詩(shī)歌翻譯中重形式而輕整體、重文本而輕人本的弊端。“格式塔”一詞原是德文“Gestalt”的中文音譯,意為“完形”。即人在視知覺(jué)過(guò)程中,總是會(huì)自然而然地有一種追求事物的結(jié)構(gòu)整體性或完形性的特點(diǎn)。格式塔意象再造理論由姜秋霞提出,她認(rèn)為,從美學(xué)角度看,成功的文學(xué)翻譯在于成功的格式塔意象再造。這一模式通過(guò)引入格式塔意象作為一個(gè)中介圖式來(lái)連接文本解讀和翻譯,既能解決文本與譯本間機(jī)械對(duì)應(yīng)問(wèn)題,又肯定了譯者的能動(dòng)作用。本研究將運(yùn)用此理論來(lái)研究古詩(shī)英譯,從三個(gè)方面對(duì)古詩(shī)英譯進(jìn)行分析。 首先,本文指出格式塔意象普遍存在于中國(guó)古典詩(shī)歌中。這正是運(yùn)用格式塔意象再造模式分析古詩(shī)英譯的前提。 其次,本文將對(duì)中國(guó)古典詩(shī)歌的翻譯過(guò)程進(jìn)行探討。格式塔意象再造理論可分為兩步,第一步:心理實(shí)現(xiàn),這是譯前理解過(guò)程。人類會(huì)對(duì)生活中不完整的事物進(jìn)行完形、填充,使之趨于完整。在詩(shī)歌閱讀過(guò)程中譯者會(huì)結(jié)合自己的審美經(jīng)驗(yàn),對(duì)詩(shī)歌表現(xiàn)出的意義進(jìn)行重組,并對(duì)未能明言的部分進(jìn)行填補(bǔ),使之成為一個(gè)完整的圖像,進(jìn)而得出格式塔意象。 第二步:語(yǔ)言實(shí)現(xiàn),即譯文的生成過(guò)程。在這一過(guò)程中,譯者通過(guò)分析意象和意象組合來(lái)重構(gòu)格式塔意象,從而完成語(yǔ)言實(shí)現(xiàn)。在創(chuàng)作中,詩(shī)人多根據(jù)思想感情,將意象作有機(jī)排列,采用脫節(jié),并置和疊加的方式來(lái)組織意象,從而實(shí)現(xiàn)“比各部分相加之和的價(jià)值”大得多的“整體價(jià)值”,即格式塔意象。因此譯者在翻譯過(guò)程中應(yīng)真實(shí)地再現(xiàn)意象的象征意義和意象組合,從而有效地傳遞詩(shī)人的審美體驗(yàn)。 同時(shí),必須看到,譯者和原文文本制約著格式塔意象的再造。一方面,譯者具有主體性,他未必能夠完全感受到原作者的審美體驗(yàn);另一方面,原文文本存在著不確定性。因此格式塔意象再造只能通過(guò)譯者與原文文本的相互作用才能最終完成。 本研究表明,在古詩(shī)英譯中,格式塔意象再造模式有助于詩(shī)歌譯文結(jié)構(gòu)的自然和諧;有助于詩(shī)歌譯作中原作者審美體驗(yàn)的傳遞;對(duì)詩(shī)歌翻譯中譯者主體性的研究有一定啟示意義。
[Abstract]:At present, the pluralistic and complementary situation of the translation of ancient Chinese poetry promotes the development of poetry translation theory. However, we attach importance to the language form of poetry and ignore the overall beauty of translating poetry, and attach importance to the contrast of texts. The disadvantages of translator's subjectivity still exist, which prevent the further development of poetry translation. In view of this, this paper attempts to analyze the translation of ancient poetry into English by using the theory of Gestalt image reconstruction, and points out that the emphasis of the translation of ancient poetry lies in the reconstruction of Gestalt image in order to solve the disadvantages of emphasizing form rather than the whole and emphasizing text rather than humanism in poetry translation. The word "Gestalt" was originally a Chinese transliteration of German "Gestalt", meaning "cloze". That is, in the process of visual perception, people always naturally have a characteristic of pursuing the structural integrity or closeness of things. The theory of Gestalt image reconstruction was put forward by Jiang Qiuxia. She believes that from an aesthetic point of view, successful literary translation lies in the successful Gestalt image reconstruction. By introducing Gestalt image as an intermediary schema to connect text interpretation and translation, this model can not only solve the problem of mechanical correspondence between the text and the translation, but also affirm the dynamic role of the translator. This study will use this theory to study the translation of ancient poetry into English and analyze the translation of ancient poetry from three aspects. First of all, this paper points out that Gestalt images generally exist in Chinese classical poetry. This is the premise of using Gestalt image reconstruction model to analyze the translation of ancient poetry into English. Secondly, this paper will discuss the translation process of Chinese classical poetry. Gestalt image reconstruction theory can be divided into two steps, the first step: psychological realization, which is the process of pre-translation understanding. Human beings will cloze, fill and make the incomplete things in life become complete. In the process of poetry reading, the translator will combine his own aesthetic experience, reorganize the meaning of poetry, and fill up the unspoken part, so that it can become a complete image, and then get the Gestalt image. The second step: language implementation, that is, the generation process of translation. In this process, the translator reconstructs the Gestalt image by analyzing the image and the combination of image, so as to complete the language realization. In his creation, the poet arranges the images organically according to his thoughts and feelings, and organizes the images by disconnection, juxtaposition and superposition, so as to realize the "overall value" of "much greater value than the sum of the various parts". That is, the image of Gestalt. Therefore, the translator should truly reproduce the symbolic meaning and image combination of the image in the process of translation, so as to effectively convey the poet's aesthetic experience. At the same time, it must be noted that the translator and the original text restrict the reconstruction of Gestalt images. On the one hand, the translator has subjectivity, he may not be able to fully feel the aesthetic experience of the original author; on the other hand, there is uncertainty in the original text. Therefore, the reconstruction of Gestalt image can only be completed through the interaction between the translator and the original text. This study shows that in the English translation of ancient poetry, the Gestalt image reconstruction model is helpful to the natural harmony of the poetry translation structure and to the transmission of the aesthetic experience of the Central Plains authors in the poetry translation. It is of great significance to the study of translator's subjectivity in poetry translation.
【學(xué)位授予單位】：廣東外語(yǔ)外貿(mào)大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2009
【分類號(hào)】：I046;H315.9

【引證文獻(xiàn)】

相關(guān)期刊論文 前1條

1 李彤;;從英譯《宿建德江》看譯者的創(chuàng)造性叛逆[J];南昌教育學(xué)院學(xué)報(bào);2010年05期

相關(guān)碩士學(xué)位論文 前1條

1 付玉珊;格式塔理論視角下《詩(shī)經(jīng)》翻譯的情感傳達(dá)[D];蘇州大學(xué);2012年

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本文編號(hào)：2481111