【摘要】：本文從符號學(xué)理論視角出發(fā),比較了理雅各、韋利、許淵沖和龐德分別翻譯的《詩經(jīng)》中的意象,旨在探討意象翻譯中意義的傳達(dá)問題。 為了便于操作和分析意象及其翻譯,在研究過程中,本文將《詩經(jīng)》意象的翻譯分為三類：一,在翻譯過程中“消失”的意象；二,在翻譯過程中“變換”的意象；三,在翻譯過程中“不變”的意象。其中,“消失”的意象是指那些在翻譯中被譯者用一般用語而非意象所替換的意象；其他兩種意象仍被翻譯為意象——“變換”的意象是指那些在翻譯過程中指稱意義發(fā)生了變化的意象；“不變”的意象是指那些指稱意義未發(fā)生變化的意象。 作為一種文學(xué)表現(xiàn)手法,意象具有一定的特殊性：它與人們的聯(lián)想、情感表達(dá)與喚起,以及想象緊密相連。所以,其意義的解讀也在很大程度上依賴于解讀者,依賴于解讀者所擁有的某種知識以及抽象思維。同時(shí),意象所指稱的對象并非意象手法的核心所在。因此,意象翻譯具有一定的特殊性。在翻譯過程中,原語讀者與譯語讀者之間的差異需要得到譯者的重視；在傳達(dá)意義時(shí),譯者也應(yīng)該把意象的核心意義及作用置于重要位置。 通過符號學(xué)分析,不難發(fā)現(xiàn),在意象翻譯中,語用意義是核心。在翻譯過程中,意象的“消失”有時(shí)是可行且必要的：譯者選擇用非意象形式的語言傳遞意象的語用意義,不得已而犧牲了意象的形式；但是,當(dāng)可以在正確傳達(dá)語用意義的同時(shí)保有意象的形式時(shí),這種犧牲則是不理想的。意象的“改換”現(xiàn)象也有積極和消極之分,有時(shí)是譯者為傳達(dá)意象的語用意義或保留原詩的主旨而犧牲原有意象指稱意義的不得已選擇,有時(shí)則是譯者誤解了原有意象的意義而做出的錯誤決定。在翻譯中選擇“不變”意象也不一定是明智之舉：擁有相同指稱意義的原語意象和譯語意象有時(shí)在語用意義上存在差別,因而原語意象的語用意義在翻譯中容易被扭曲；但是如果有較為理想的方式來翻譯意象,保證意象的語用意義和指稱意義均得以恰當(dāng)傳達(dá),則“不變”仍是最佳選擇。 本文所探索的是意象翻譯過程中的意義傳達(dá)問題,這也是意象翻譯實(shí)踐中的核心問題所在。相對于關(guān)注詩歌翻譯中的形式、音韻重現(xiàn)而言,對意義傳達(dá)問題的關(guān)注更貼近翻譯的本質(zhì)。詩歌翻譯中的意義傳達(dá)是詩歌之美和文學(xué)性的傳達(dá)最重要的一步。對于《詩經(jīng)》這樣一部中華民族的偉大瑰寶而言,要將它的文化價(jià)值和文學(xué)美傳遞給他國的人們離不開對其意義的深刻理解和正確傳達(dá)。在此過程中,意象翻譯研究和實(shí)踐的提升無疑有著重要的意義。
[Abstract]:From the perspective of semiotics this paper compares the images in the Book of songs translated by James Willie Xu Yuanchong and pound in order to explore the communication of meaning in image translation. In order to facilitate the manipulation and analysis of images and their translation, this paper divides the translation of the Book of songs into three categories: first, the images that "disappear" in the process of translation; secondly, the images of "transformation" in the process of translation; The image of "invariance" in the process of translation. Among them, the image of "disappear" refers to those images which are replaced by the translator in translation with general terms rather than images; The other two images are still translated as images the images of "transformation" refer to the images in which the referential meaning has changed in the course of translation, and the "immutable" images refer to the images whose referential meanings have not changed. As a literary expression, image has its own particularity: it is closely related to people's association, emotional expression and arousal, and imagination. Therefore, the interpretation of its meaning depends to a great extent on the understanding of the reader, the understanding of the reader's knowledge and abstract thinking. At the same time, the object referred to by image is not the core of image technique. Therefore, image translation has its own particularity. In the process of translation, the differences between the readers of the source language and the target language need to be taken seriously by the translator, and the translator should put the core meaning and function of the image in the important position when communicating the meaning. Through semiotic analysis, it is not difficult to find that pragmatic meaning is the core in image translation. In the process of translation, the "disappearance" of images is sometimes feasible and necessary: the translator chooses to convey the pragmatic meaning of images in non-image language and sacrifices the form of images. Such sacrifice is not ideal when the pragmatic meaning can be correctly conveyed while preserving the form of image. There are also positive and negative aspects of the change of images. Sometimes the translator has to sacrifice the referential meaning of the original image to convey the pragmatic meaning of the image or to retain the main theme of the original poem. Sometimes it is the translator who misunderstands the meaning of the original image. It is not always wise to choose "invariant" image in translation: the original image with the same referential meaning and the target language image are sometimes different in pragmatic meaning, so the pragmatic meaning of the original image is easily distorted in translation; However, if there is an ideal way to translate images and ensure that the pragmatic and referential meanings of images are properly conveyed, "invariance" is still the best choice. This paper explores the problem of meaning communication in the process of image translation, which is also the core problem in the practice of image translation. Rather than focusing on the form in poetry translation, phonological reproduction is closer to the essence of translation. Meaning communication in poetry translation is the most important step of poetry beauty and literariness communication. As for the great treasure of the Chinese nation, the people who want to pass on its cultural value and literary beauty to other countries cannot leave the profound understanding and correct communication of its meaning. In this process, there is no doubt that the study of image translation and the promotion of practice are of great significance.
【學(xué)位授予單位】：南京大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2012
【分類號】：H315.9;I046

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