發(fā)布時間：2019-05-22 12:27

【摘要】： 我國家喻戶曉的古典名著《紅樓夢》自其18世紀(jì)中葉誕生以來就創(chuàng)造了一個奇跡。全書還未完成就被廣為傳閱并大受歡迎，更有眾多名人為研究它而著書立說，并由此發(fā)展起來一門專門學(xué)科“紅學(xué)”。這種情況不僅在中國，在世界的文學(xué)史上都是少見的。從19世紀(jì)30年代年始，中外譯者就用包括英、法、德、日、俄等在內(nèi)的多國語言以節(jié)譯、縮譯或全譯的形式將其譯出。 《紅樓夢》被稱為“百科全書”。這不僅由于它內(nèi)容豐富，牽涉面廣，其結(jié)構(gòu)本身的“文備眾體”也是一個重要原因。前朝發(fā)展起來的各種文體，如詩、詞、曲、歌、謠、諺、贊、誄、偈語、辭賦、聯(lián)額、書啟、燈謎、酒令、駢文------等等，應(yīng)有盡有。僅以律詩而言，就有五絕、七絕、五律、七律、排律，有詠懷的、詠物的、即事的、即景的、懷古的、打油的，有限題的、限韻的、限詩體的、同題分詠的、分題合詠的------五花八門，豐富多彩。全書近200首韻文，律詩就占了一半。這些律詩不但本身具有很高的藝術(shù)價值，更是全書不可或缺的有機組成部分。然而在許多英文譯本中，律詩都被略去了，翻譯的難度固然是一個因素，譯者對其在全書中重要性的忽視可能是更深層次的原因。這不能不說是《紅樓夢》譯事上的一個遺憾。令人高興的是，在20世紀(jì)70年代，我們分別有了兩個英文全譯本：英國漢學(xué)家大衛(wèi).霍克斯的The Story of the Stone和中國學(xué)者楊憲益夫婦的A Dream of Red Mansions 。這兩個全譯本對律詩部分的處理可說是可圈可點。 本文試圖對霍克斯和楊夫婦在兩個全譯本中對律詩部分的處理作一個粗略的比較，擬從律詩的形、音、意三方面來進行，，重點放在兩譯者的不同之處。全文分為七個部分： 引言部分扼要介紹《紅樓夢》一書的基本情況及本論文的主題、結(jié)構(gòu)。 第一部分先介紹律詩這種文學(xué)體裁的基本特點及其翻譯可能遇到的困難，再介紹其在《紅樓夢》中的地位、作用及概況。 第二部分簡要介紹《紅樓夢》的翻譯情況，重點放在對霍克斯和楊夫婦的兩個全譯本的介紹上。 第三部分從律詩的“形”方面對兩譯本中的處理作出比較，主要從視覺方面著手，考察詩行數(shù)及音節(jié)數(shù)的翻譯情況。 第四部分從律詩的“音”方面對兩譯本作出比較，從聽覺方面入手，考察節(jié)奏及用韻在譯文中的反映情況。 第五部分從律詩的“意”方面對兩譯本作出比較，從感覺方面來考察意象及情感等在譯文中的體現(xiàn)。 結(jié)論部分對全文作了歸納和總結(jié)。
[Abstract]:Dream of Red Mansions, a well-known classical masterpiece in China, has created a miracle since its birth in the middle of the 18 th century. Before the completion of the book, it was widely circulated and popular, and many famous people wrote books to study it, and thus developed a special subject, Red Studies. This situation is rare not only in China, but also in the history of world literature. Since the 1830s, Chinese and foreign translators have translated English, French, German, Japanese, Russian and other languages in the form of abstinence, acronym or full translation. A Dream of Red Mansions is called an encyclopedia. This is not only because it is rich in content and involves a wide range of aspects, but also because of its structure itself. All kinds of styles developed in the previous period, such as poetry, ci, song, ballad, proverb, praise, Ket, ci Fu, Lian, Shu Kai, lantern riddle, wine order, parallel prose-and so on. As far as legal poetry is concerned, there are five absolute, seven, five, seven, seven, The chanting of the subject is varied and colorful. Nearly 200 rhymes in the book account for half of them. These poems not only have high artistic value, but also are an indispensable part of the book. However, in many English versions, legal poetry has been omitted, and the difficulty of translation is certainly a factor, and the translator's neglect of its importance in the book may be a deeper reason. This can not be said to be a regret in the translation of A Dream of Red Mansions. Happily, in the 1970 s, we had two full English translations: David, a British sinologist. Hawkes' The Story of the Stone and A Dream of Red Mansions. Of Chinese scholar Yang Xianyi and his wife The treatment of the part of legal poetry in these two complete versions can be said to be worthy of attention. This paper attempts to make a rough comparison between Hawkes and Yang in dealing with the part of legal poetry in two full versions, with emphasis on the differences between the two translators from three aspects: the form, sound and meaning of the poem. The full text is divided into seven parts: the introduction briefly introduces the basic situation of A Dream of Red Mansions and the theme and structure of this paper. The first part introduces the basic characteristics of the literary genre of rhythm poetry and the difficulties it may encounter in translation, and then introduces its position, function and general situation in A Dream of Red Mansions. The second part briefly introduces the translation of A Dream of Red Mansions, focusing on the introduction of the two complete translations of Hawkes and Yang. The third part compares the processing of the two versions from the "form" aspect of the legal poetry, mainly from the visual aspect, and examines the translation of the number of lines and the number of verses. The fourth part compares the two versions from the aspect of "sound" of rhythm poetry, and investigates the reflection of rhythm and rhyme in the translation from the aspect of hearing. The fifth part compares the two versions from the aspect of meaning, and examines the embodiment of image and emotion in the translation from the aspect of feeling. The conclusion part summarizes and summarizes the full text.
【學(xué)位授予單位】：四川師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2002
【分類號】：I046

【引證文獻(xiàn)】

相關(guān)期刊論文 前1條

1 張帆;;大衛(wèi).霍克斯,楊憲益與戴乃迭翻譯風(fēng)格淺析——《紅樓夢》第28回兩種譯本的研究[J];文學(xué)界(理論版);2013年01期

相關(guān)博士學(xué)位論文 前1條

1 李虹;《紅樓夢》詩詞英譯移情比較研究[D];上海外國語大學(xué);2011年

相關(guān)碩士學(xué)位論文 前2條

1 羅穎虹;霍譯《紅樓夢》人名英譯的審美缺失與補償[D];上海外國語大學(xué);2010年

2 楊秀梅;古詩英譯中的譯者主體性[D];江南大學(xué);2009年

本文編號：2482938