本文關(guān)鍵詞：從意象再現(xiàn)角度賞析楊憲益唐詩翻譯　出處：《華中科技大學(xué)》2012年碩士論文　論文類型：學(xué)位論文

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【摘要】：中國古典詩歌以其音樂性和語言獨(dú)特性聞名世界，被譯成各國語言廣為流傳，使得外國人對(duì)中國文化有了更深刻的了解。許多翻譯家和學(xué)者都對(duì)中國古典詩歌的翻譯和傳播做出過重大貢獻(xiàn)，楊憲益先生不可不說是其中的翹楚，他與妻子戴乃迭一起，將過百部中國文學(xué)作品翻譯成了英文，是中國不可多得的高產(chǎn)譯者。 意象作為詩歌的靈魂，是幫助詩人表達(dá)憂傷和喜悅；表達(dá)對(duì)自然和美的贊賞，以及對(duì)不公平社會(huì)制度的憎惡的媒介和途徑。因此，在詩歌的翻譯過程中，意象作為最重要的部分，理所應(yīng)當(dāng)?shù)玫阶畲蟪潭鹊闹噩F(xiàn)。這也成為了眾多譯者不遺余力想要實(shí)現(xiàn)的目標(biāo)。 然而，在研究意象的翻譯時(shí)，有些學(xué)者只注重單一的意象而忽略了意象的組合。事實(shí)上，單一的意象本身其實(shí)并沒有確定的含義，也無法表達(dá)詩人復(fù)雜和微妙的情感。而詩人在寫詩的過程中，只有將各種不同的意象有機(jī)結(jié)合起來，建立成一個(gè)完整的畫面，才能成功將意境傳達(dá)至讀者面前。如果只有單一的意象，詩人情感的起因，效果，變化和發(fā)展也就無從得知。因此，只有所有意象共同發(fā)揮作用，才能完整表達(dá)詩人的感情和詩的主題。 本文以翻譯家楊憲益和戴乃迭夫婦的唐詩英譯作為研究對(duì)象，同時(shí)借鑒陳植鍔先生對(duì)中國古典詩歌意象組合的分類，將唐詩根據(jù)不同意象組合方式分為五類：并置式、跳躍式、疊加式、相交式和輻合式。在每種分類下，將楊氏夫婦的譯本同其它翻譯學(xué)者的譯本進(jìn)行對(duì)比研究，分析鑒賞他們針對(duì)不同的意象組合方式，，所選擇的意象處理方式有何不同以及與之對(duì)應(yīng)的意境再現(xiàn)的效果，進(jìn)而總結(jié)出，楊憲益和戴乃迭夫婦在處理五種不同類別的意象組合是所采用的方法各有不同。對(duì)于并置式的意象組合，楊氏夫婦采取了形式對(duì)等的翻譯策略；對(duì)于跳躍式的意象組合，他們主要采用增譯和變換句式的策略來保證意境的重現(xiàn)；對(duì)于疊加式的意象組合，他們采取的是中庸的翻譯策略，將直譯和意譯相互融合，兼顧源語和目的語的文化差異；對(duì)于相交式的意象組合，他們采取的是合并處理的方式，同時(shí)通過增譯保持結(jié)構(gòu)上的對(duì)等；而對(duì)于輻合式的意象組合，他們采用直譯加學(xué)術(shù)性注釋的翻譯策略。 論文主要分為四個(gè)部分。 第一章為文獻(xiàn)綜述。介紹了意象的概念和五種組合方式，并簡(jiǎn)要介紹了楊憲益和戴乃迭夫婦的生平以及對(duì)詩歌翻譯的貢獻(xiàn)和成就。 第二章為方法論，包括研究問題，樣本采集，對(duì)比及描述性研究。 第三章是對(duì)楊憲益和其他學(xué)者唐詩譯本的比較研究。本章分為五部分，每一部分分別針對(duì)對(duì)應(yīng)一種意象組合方式的唐詩，比較研究不同譯本對(duì)不同意象組合的處理方式以及意境再現(xiàn)的效果。 第四章總結(jié)了楊憲益和戴乃迭夫婦在唐詩翻譯過程中，對(duì)于意象處理的特點(diǎn)，并提出了文章的不足。
[Abstract]:Chinese classical poetry is famous all over the world for its musicality and linguistic uniqueness. So that foreigners have a deeper understanding of Chinese culture. Many translators and scholars have made great contributions to the translation and dissemination of Chinese classical poetry. Together with his wife, Dai Nadie, he translated more than 100 Chinese literary works into English and was one of the most productive translators in China. Image, as the soul of poetry, is to help poets express sadness and joy; The expression of appreciation of nature and beauty, as well as the hate of unfair social system, the media and ways. Therefore, in the translation of poetry, image is the most important part. It is well-deserved to get the greatest possible recurrence. This has become the goal that many translators spare no effort to achieve. However, in the study of image translation, some scholars only pay attention to the single image and ignore the combination of the image. In fact, the single image itself has no definite meaning. Nor can he express the poet's complex and delicate feelings. In the process of writing poems, the poet can only combine all kinds of images organically and establish a complete picture. Only if there is a single image, the cause, effect, change and development of the poet's emotion will not be known. Therefore, only all the images work together. In order to fully express the poet's feelings and the theme of poetry. This paper focuses on the translation of Tang poetry by translators Yang Xianyi and Dai Naidi, and draws lessons from Mr. Chen Zhi-E 's classification of the image combination of classical Chinese poetry. According to different image combinations, Tang poetry is divided into five categories: juxtaposition, jump, superposition, intersection and convergence. Under each classification, the translation of Yang and his wife are compared with those of other translation scholars. Analysis and appreciation of their different image combinations, the selection of different image processing and the corresponding artistic conception of the effect of reproduction, and then summed up. Yang Xianyi and Dainaidi have different approaches in dealing with five different types of image combinations. For the juxtaposition of images, the Young and his wife adopt the translation strategy of formal equivalence. For the jump image combination, they mainly adopt the strategies of adding translation and changing sentence patterns to ensure the reproduction of artistic conception. For the superimposed image combination, they adopt a mediocre translation strategy, which combines literal translation with free translation, and takes into account the cultural differences between the source language and the target language. For the intersecting image combination, they adopt the method of merging, and at the same time, they maintain the structural equivalence by adding translation. For convergent image combinations, they adopt literal translation and academic annotation translation strategy. The paper is divided into four parts. The first chapter is a literature review, which introduces the concept and five combinations of imagery, and briefly introduces the lives of Yang Xianyi and the couple, as well as their contributions and achievements in poetry translation. The second chapter is methodology, including research questions, sample collection, comparison and descriptive research. The third chapter is a comparative study of Yang Xianyi and other scholars of Tang poetry translation. This chapter is divided into five parts, each part of the corresponding image combination of Tang poetry. A comparative study of different versions of different image combinations and the effect of artistic conception reproduction. Chapter 4th summarizes the characteristics of image processing in the translation of Tang poetry by Yang Xianyi and Dai Naidi, and points out the shortcomings of the article.
【學(xué)位授予單位】：華中科技大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2012
【分類號(hào)】：H315.9;I046

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