【摘要】：本文以比較文學(xué)理論和功能翻譯理論為基礎(chǔ)，對(duì)詩(shī)歌翻譯中的三個(gè)案例進(jìn)行了分析研究：(1)中國(guó)古典詩(shī)歌對(duì)日本俳句的影響。中國(guó)詩(shī)的輸入幫助日本創(chuàng)建詩(shī)歌形式并不斷促進(jìn)其發(fā)展，俳句在繼承了中國(guó)詩(shī)歌傳統(tǒng)的同時(shí)，有其獨(dú)特之處：形式更精煉(三言十七音)；題材更狹窄(描景狀懷)；審美更纖細(xì)(“哀婉之美”)。(2)日本俳句和中國(guó)古典詩(shī)歌對(duì)西方意象主義詩(shī)歌運(yùn)動(dòng)的影響。俳句的譯入搭建了西方關(guān)注中國(guó)詩(shī)的橋梁。意象主義運(yùn)動(dòng)在東方詩(shī)歌里尋求到理論的支持，東方譯詩(shī)對(duì)意象主義詩(shī)歌運(yùn)動(dòng)最大的影響是意象的運(yùn)用、句法的切割和并置。這種影響挖掘了英語(yǔ)語(yǔ)言表達(dá)的潛能、拓寬了西方的審美空間：西方詩(shī)歌打破了其語(yǔ)法細(xì)分、邏輯嚴(yán)密的表達(dá)方式，以及溫情主義和理性主義的審美傳統(tǒng)，開(kāi)始引進(jìn)東方語(yǔ)言凝練、含蓄的表達(dá)方式，以及“以物觀物”、“天人合一”的審美體系。意象主義運(yùn)動(dòng)開(kāi)辟了西方現(xiàn)代主義詩(shī)歌的先河。(3)西方各國(guó)詩(shī)歌對(duì)現(xiàn)代中國(guó)白話文、白話詩(shī)的影響。意象主義詩(shī)歌原則幫助胡適詩(shī)學(xué)觀點(diǎn)的形成，啟動(dòng)了中國(guó)現(xiàn)代白話文、白話詩(shī)的革命。而西方大量譯詩(shī)的介入大大促進(jìn)了中國(guó)新詩(shī)的建設(shè)，使中國(guó)新詩(shī)出現(xiàn)了前所未有的盛況：白話形式自由體，主題人文化，創(chuàng)作方法的多樣化及審美的多元化。詩(shī)歌的革命引發(fā)了一場(chǎng)規(guī)模更為浩大的文化革命和社會(huì)革命。 文章通過(guò)對(duì)這三個(gè)案例的分析，論述了源語(yǔ)詩(shī)歌通過(guò)翻譯使語(yǔ)言媒體在譯語(yǔ)里發(fā)生改變，從而促進(jìn)譯語(yǔ)詩(shī)歌的革新而實(shí)現(xiàn)文化的交流。并且進(jìn)一步以功能翻譯理論為基礎(chǔ)討論翻譯過(guò)程中影響這種革新的一些動(dòng)態(tài)的文化因素：如詩(shī)歌的可譯性決定了源詩(shī)信息量的傳遞；文化的內(nèi)在需求決定了譯者對(duì)詩(shī)歌翻譯的操縱：文本解讀、目的取向和方法選擇；譯語(yǔ)讀者的接受傾向決定了源語(yǔ)和譯語(yǔ)詩(shī)歌融合的程度以及譯語(yǔ)詩(shī)歌發(fā)展的方向。最后得出結(jié)論：詩(shī)歌的再生是通過(guò)翻譯過(guò)程中的一些動(dòng)態(tài)的文化因素實(shí)現(xiàn)的。并且以點(diǎn)帶面，證明了翻譯在跨文化的交流和發(fā)展中起著非常重要的作用，所以必須加強(qiáng)翻譯建設(shè)，推動(dòng)我國(guó)文化發(fā)展，促進(jìn)世界文化繁榮。 本文的創(chuàng)新性在于以文學(xué)比較作為手段，對(duì)三個(gè)案例進(jìn)行梳理分 析，，以點(diǎn)帶而，探詞一翻譯理論，并從中得出結(jié)論。文章除前言和結(jié)論 部分，共分兩個(gè)章節(jié)，第一章是對(duì)三個(gè)案例的分析，第二章是關(guān)于翻 譯的思考。
[Abstract]:Based on the theory of comparative literature and functional translation, this paper analyzes and studies three cases in poetry translation: (1) the influence of Chinese classical poetry on Japanese haiku. The input of Chinese poetry helps Japan to create and promote the development of poetry form. Haiku not only inherits the tradition of Chinese poetry, but also has its own unique features: the form is more refined (three words and seventeen notes), the subject matter is narrower (picturesque), and the haiku sentence has its own unique features. Aesthetic). (2) the influence of Japanese haiku and Chinese classical poetry on the movement of western imagist poetry. The translation of haiku has built a bridge for the West to pay attention to Chinese poetry. The imagist movement seeks theoretical support in oriental poetry. The greatest influence of oriental poetry translation on imagist poetry movement is the use of images, the cutting and juxtaposition of syntax. This influence excavates the potential of English language expression and broadens the aesthetic space of the West: Western poetry breaks its grammatical subdivision, logical expression, and the aesthetic tradition of tenderness and rationalism. It began to introduce oriental language condensed, implicit expression, as well as the aesthetic system of "looking at things with things" and "harmony between man and nature". The imagist movement opened up the forerunner of western modernist poetry. (3) the influence of western poetry on modern Chinese vernacular and vernacular poetry. The principle of imagism helped the formation of Hu Shi's poetics and initiated the revolution of modern vernacular and vernacular poetry in China. However, the intervention of a large number of western poetry translation has greatly promoted the construction of Chinese new poetry, and made Chinese new poetry appear unprecedented prosperity: vernacular form free style, subject person culture, diversification of creative methods and aesthetic diversification. The revolution of poetry triggered a larger cultural revolution and social revolution. Through the analysis of these three cases, this paper discusses that the source language poetry changes the language media in the target language through translation, so as to promote the innovation of the target language poetry and realize the cultural exchange. On the basis of functional translation theory, this paper further discusses some dynamic cultural factors that affect this innovation in the process of translation: for example, the translatability of poetry determines the transmission of the amount of information in the source poetry; The inherent demand of culture determines the translator's manipulation of poetry translation: text interpretation, purpose orientation and method choice, and the acceptance tendency of the target language readers determines the degree of the fusion of the source language and the target language poetry and the direction of the development of the target language poetry. Finally, it is concluded that the regeneration of poetry is realized through some dynamic cultural factors in the process of translation. Moreover, it is proved that translation plays a very important role in cross-cultural communication and development, so it is necessary to strengthen the construction of translation, promote the development of Chinese culture and promote the prosperity of world culture. The innovation of this paper is to sort out and analyze the three cases by means of literary comparison, to explore the translation theory of word and word, and to draw a conclusion from it. In addition to the preface and conclusion, the article is divided into two chapters. The first chapter is the analysis of three cases, and the second chapter is about translation.
【學(xué)位授予單位】：湖南師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2003
【分類號(hào)】：I046

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本文編號(hào)：2492231