本文關鍵詞： 中詩 英譯 理論 實踐　出處：《中國社會科學院研究生院》2002年博士論文　論文類型：學位論文

【摘要】： 翻譯是文化交流重要的媒介，隨著新世紀中外文化與文學交流的頻繁和深入，它的重要性也會與時俱增。翻譯研究也變成了當前比較文學研究的一個重要課題。中國的翻譯活動有兩千年歷史，但把它當作一個專門的學科，則為時未久。為中國古典詩歌的外譯和傳播做出了卓越的貢獻的中國學者多半是在翻譯實踐的同時，或發(fā)表個人的見解，或與西方漢學家的譯例進行對比和評鑒，而幾乎沒有比較系統(tǒng)、比較深入的理論著作。西方學者由于“文化身份”的特殊，他們在翻譯中詩的過程中，往往能顧及西方當時的理論背景和文化思潮，并兼顧西方讀者的接受心理和語言習慣，而創(chuàng)造性地處理譯作。因此，，他們的翻譯史具有獨特的藝術價值。 本文在中詩英譯實踐的基礎上，進而系統(tǒng)而深入地探討有關詩歌可譯度的問題，包括翻譯原則、翻譯類型等方面；并試圖超越傳統(tǒng)的翻譯理論，結合新興的句法理論、文化理論、讀者反應理論等，來探討譯詩的可讀性問題，包括翻譯方法、譯者理論等方面。本文一面借鑒西方，一面結合中國譯論，力求中西互補、互闡；而且在進行理論考察的同時，從文學和文化層次探討了譯詩的技巧與規(guī)律，以增強翻譯理論的可操作性。 首先本文力求全面地考察了國內(nèi)外總體翻譯的原則，梳理了由指導實踐的應用研究向純學術研究的發(fā)展過程；總結了中、西學者對中詩英譯原則的具體研究，中國譯者以許淵沖和翁顯良為代表，他們注重原詩意蘊的保全；而西方譯者以翟理思、龐德和韋利三位大家為代表，他們或鮮明或潛在地提出了中詩英譯的原則，注重譯詩的內(nèi)容和形式，注重讀者的接受。因此，西方譯者的觀點彌補了中國譯論的不足。 其次本文在前人研究的基礎上，將翻譯類型按照內(nèi)容與形式分別劃分成三類。集中探討了直譯與意譯、韻體與散體之爭，承認擬作與自由體的獨特價值，認為它們是翻譯類型的不可或缺的一部分；比較客觀地評價了各種類型的利弊，得出翻譯類型與時俱進、互補兼用的結論。同時從研究的宏觀與微觀的角度，區(qū)別了翻譯類型和翻譯方法。 第三本文嘗試歸納了中詩英譯的翻譯方法，按照詞法和句法二個層次，探索了運用基本翻譯方法的具體情況。并且試圖為這些翻譯方法做出界定；同時在修辭方面也總結了一定的譯法。 最后本文探討了譯者理論。首先總結了譯者的知識素養(yǎng)，包括語言、文學和文化知識三方面的素養(yǎng)；還描述了譯者在藝術創(chuàng)造和欣賞過程中的作用，包括譯者與作者、讀者的關系；最后分析了譯者在整個文化之中的身份，提出理想的譯者應學貫中西。 希望本文能對今后中詩英譯的研究有所助益。
[Abstract]:Translation is an important medium for cultural exchange, with the frequent and in-depth cultural and literary exchanges between China and foreign countries in the new century. Its importance will also increase with time. Translation studies have become an important subject in current comparative literature studies. Translation activities in China have a history of two thousand years, but they are regarded as a specialized subject. Most of the Chinese scholars who have made outstanding contributions to the translation and dissemination of Chinese classical poetry are both in translation practice and in expressing their personal opinions. Or to compare and evaluate the translation cases of western sinologists, but there are almost no systematic and in-depth theoretical works. Western scholars, because of their special "cultural identity", are in the process of translating poetry. Therefore, their translation history is of unique artistic value because it can take into account the theoretical background and cultural trend of thought at that time, as well as the receptive psychology and language habits of western readers. On the basis of the practice of translating Chinese poems into English, this paper systematically and deeply discusses the problems of poetry translatability, including translation principles, translation types and so on. It also attempts to explore the readability of translated poems, including translation methods, by combining new syntactic theories, cultural theories and reader response theories. On the one hand, this thesis draws lessons from the West, and on the other hand, combines the Chinese translation theory and the Chinese translation theory in an effort to complement and expound each other. In order to enhance the maneuverability of translation theory, this paper probes into the techniques and rules of poetry translation from the literary and cultural levels. First of all, the thesis tries to make a comprehensive study of the principles of translation at home and abroad, and combs the development process from practical applied research to pure academic research. This paper summarizes the specific studies of Chinese and Western scholars on the principles of translating Chinese poetry into English. The Chinese translators are represented by Xu Yuanchong and Weng Xianliang, who pay attention to the preservation of the meaning of the original poem. The western translators are represented by Zhai Les, pound and Willie. They either explicitly or potentially put forward the principles of translating Chinese poetry into English, pay attention to the content and form of translation, and pay attention to the acceptance of readers. The western translators' views make up for the deficiency of Chinese translation theory. Secondly, on the basis of previous studies, this paper classifies translation types into three categories according to their content and form, focusing on literal translation and free translation, and the contention between rhyme and prose. To recognize the unique value of fiction and free body as an indispensable part of translation; This paper objectively evaluates the advantages and disadvantages of various types of translation and draws the conclusion that translation types keep pace with the times and complement each other. At the same time, the author distinguishes translation types and translation methods from the macro and micro perspectives of the study. Third, this paper attempts to summarize the translation methods of Chinese poetry into English, explores the specific situation of applying basic translation methods according to lexical and syntactic levels, and tries to define these translation methods. At the same time, it sums up some translation methods in rhetoric. Finally, this paper discusses the translator's theory. Firstly, it summarizes the translator's knowledge literacy, including language, literature and cultural knowledge. It also describes the role of the translator in the process of artistic creation and appreciation, including the relationship between the translator, the author and the reader; Finally, the author analyzes the identity of the translator in the whole culture, and points out that the ideal translator should learn from the Chinese and the Western. It is hoped that this paper will be helpful to the future study of the translation of Chinese poetry into English.
【學位授予單位】：中國社會科學院研究生院
【學位級別】：博士
【學位授予年份】：2002
【分類號】：I046

【引證文獻】

相關博士學位論文 前1條

1 王正良;回譯研究[D];上海外國語大學;2006年

相關碩士學位論文 前1條

1 岳秀麗;中國古典詩詞英譯中的意境再現(xiàn)[D];太原理工大學;2008年

本文編號：1451401