《詩(shī)經(jīng)》是中國(guó)古詩(shī)的開端,是中國(guó)第一部詩(shī)歌總集,是中國(guó)文學(xué)的源頭和中華文化的精髓,在后世文學(xué)中具有崇高的地位和深遠(yuǎn)的影響。《詩(shī)經(jīng)》翻譯及其研究是傳播燦爛的中華文化、使中華文化參與全球文化交流的一大途徑。詩(shī)歌是語(yǔ)言的精華,意象是詩(shī)歌的靈魂,是中國(guó)詩(shī)學(xué)中的一個(gè)重要概念。中國(guó)古詩(shī)意象繁多,其意象再現(xiàn)是詩(shī)歌翻譯的關(guān)鍵�！对�(shī)經(jīng)》中意象豐富,水意象大量出現(xiàn)。意象是指結(jié)合了客觀事物與作者主觀情感的詩(shī)歌意象。所謂水意象是指以水為載體的意象。有關(guān)水意象的研究發(fā)現(xiàn),自先秦典籍開始,水意象就占據(jù)了重要的地位,且在歷代典籍中亦是如此。詩(shī)歌中的水意象蘊(yùn)涵豐富,或象征時(shí)間飛逝,或象征愛情受阻等。同時(shí),水意象的翻譯也得到了學(xué)者的關(guān)注,其意象翻譯策略有保留意象、意象替換等方法。水意象是《國(guó)風(fēng)》中的一個(gè)重要意象,在《國(guó)風(fēng)》160首詩(shī)歌中,就有42首含有水意象,占了約四分之一的篇目�！秶�(guó)風(fēng)》中的水意象應(yīng)在翻譯過程中得到譯者的重視和恰當(dāng)處理。本文的主要理論框架為意象主義理論。意象主義是西方文學(xué)史上的一大文學(xué)流派,開啟了英美現(xiàn)代主義詩(shī)歌的新紀(jì)元。埃茲拉·龐德是著名的美國(guó)意象派詩(shī)人、詩(shī)歌評(píng)論家,是意象主義運(yùn)動(dòng)的先鋒人物,十分重...

【文章頁(yè)數(shù)】：102 頁(yè)

【學(xué)位級(jí)別】：碩士

【文章目錄】：
ACKNOWLEDGEMENTS
摘要
ABSTRACT
Chapter One INTRODUCTION
    1.1 Research Background
    1.2 Research Objectives and Significance
        1.2.1 Research objectives
        1.2.2 Research significance
            1.2.2.1 Theoretical significance
            1.2.2.2 Practical significance
    1.3 Research Questions and Research Methods
        1.3.1 Research questions
        1.3.2 Research methods
    1.4 Structure of the Thesis
Chapter Two LITERATURE REVIEW
    2.1 Research at Home
        2.1.1 Water culture and the water image
        2.1.2 Image in poetry and its translation
        2.1.3 The water image in poetry and its translation
        2.1.4 Image in Shi Jing and its translation
    2.2 Research Abroad
        2.2.1 Water culture and the water image
        2.2.2 Image in Western culture
        2.2.3 Image in Shi Jing and its translation
Chapter Three THEORETICAL FOUNDATION
    3.1 Ezra Pound as an Imagist
    3.2 Historical Background of Imagism
    3.3 Development of the Imagism Movement
    3.4 Imagism Poetry Creation
    3.5 Imagism Poetry Translation
        3.5.1 Energy in language
        3.5.2 Detailed translation theory
        3.5.3 The triple concepts of poetry
Chapter Four ANALYSIS OF THE WATER IMAGE FROM THE PERSPECTIVE OF IMAGISM
    4.1 The Water Image in Guo Feng
    4.2 The Water Image in Guo Feng and its Connection with Other Images
        4.2.1 Mutual complement and integration
        4.2.2 Mutual enhancement and reinforcement
    4.3 Pound’s Translation Procedures of the Water Image in Guo Feng
        4.3.1 Direct transfer
        4.3.2 Omission
        4.3.3 Addition
        4.3.4 Denominalization
        4.3.5 Coinage
    4.4 Comparative Analysis of Pound’s Translation of the Water Image in Guo Feng
        4.4.1 Pound’s translation—a reflection of the Imagism theory
        4.4.2 Xu Yuanchong’s translation—a reflection of Three Transformations and Three Beauties theory
    4.5 Implications on the Image Translation Strategies of Other Images in Shi Jing
        4.5.1 Retention of the image
        4.5.2 Substitution of the image
        4.5.3 Recreation of the image
        4.5.4 Annotation to the image
        4.5.5 Omission of the image
Chapter Five CONCLUSION
    5.1 Major Findings
    5.2 Limitations of the Research
    5.3 Suggestions for Further Research
REFERENCES
APPENDIX
    Appendix Ⅰ Papers Published during the MA Program



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