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《詩經(jīng)》翻譯中“三美”原則

發(fā)布時間:2021-02-02 08:08
  在2010年德國舉行的世界上最美麗的書評選活動中,《詩經(jīng)》一舉奪魁。由此可見,一直以來在西方影響深遠(yuǎn)的《詩經(jīng)》,其“美”的特質(zhì)尤其顯著。同時,從語言角度看,《詩經(jīng)》.語言高度含蓄,凝練,兼有意美,音美和形美。那么在翻譯中如何將中文《詩經(jīng)》中的美充分地傳達(dá),就成為了評判《詩經(jīng)》眾多譯文的一個重要方面。由此,許淵沖提出的三美原則便是譯者翻譯《詩經(jīng)》的一個很好的理論依據(jù),值得學(xué)習(xí)與推廣。本論文對此從三章進(jìn)行了詳細(xì)論證。首先是導(dǎo)論,概述了對許淵沖的三美原則對《詩經(jīng)》翻譯的研究。作者對詩經(jīng)翻譯的幾個版本進(jìn)行了概括性的比較,根據(jù)讀者的反應(yīng)及評論家的看法,分析出各自的優(yōu)缺點(diǎn),由此初步得出結(jié)論,即許淵沖的《詩經(jīng)》翻譯版本最佳。而許淵沖本人以三美原則為其翻譯依據(jù),那么這篇論文便是結(jié)合三美原則,通過三個章節(jié)的詳細(xì)論證,從而得出結(jié)論:許淵沖的三美原則對于《詩經(jīng)》的翻譯具有理論指導(dǎo)意義。第一章分析了《詩經(jīng)》的特點(diǎn),主要是《詩經(jīng)》的語言特點(diǎn),因?yàn)槠湔Z言特點(diǎn)決定譯者采取何種方式進(jìn)行翻譯。另外還有中外詩歌的語言特點(diǎn)。因?yàn)榉g《詩經(jīng)》的過程就是講中文轉(zhuǎn)換為外文的過程,譯文必須符合英文習(xí)慣,同時具有詩歌特質(zhì)。由此,第一... 

【文章來源】:湖南師范大學(xué)湖南省 211工程院校

【文章頁數(shù)】:93 頁

【學(xué)位級別】:碩士

【文章目錄】:
ABSTRACT
摘要
Introduction
    0.1 Background of the Research
    0.2 Significance of the Research
    0.3 Main Content and Research Methods
Chapter 1 Poetry and Bood of Poetry
    1.1 The Features of Poetry
        1.1.1 Features related to meaning
        1.1.2 Features related to sound
        1.1.3 Features related to form
    1.2 Special Features of Chinese Classical Poetry
        1.2.1 Balanced Structure
        1.2.2 Ambiguity of language
    1.3 The original Book of Poetry
        1.3.1 A brief introduction to the original Book of Poetry
        1.3.2 The language features of Book of poetry
Chapter 2 Three Beauties Principle
    2.1 A Survey of Xu's Theory of Literary Translation
    2.2 Three Beauties Principle
        2.2.1 The origin and development
        2.2.2 Beauty in meaning
        2.2.3 Beauty in sound
        2.2.4 Beauty in form
Chapter 3 Representation of "Three Beauties" in Book of Poetry
    3.1 Representation of Beauty in Meaning
        3.1.1 Images
        3.1.2 Rhetorical devices
        3.1.3 Character
        3.1.4 Some demerits about beauty in meaning
    3.2 Representation of Beauty in Sound
        3.2.1 Rhymes
        3.2.2 Rhyhm
    3.3 Representation of Beauty in Form
        3.3.1 Stanza
        3.3.2 Sentence Pattern
        3.3.3 Length of lines
Conclusion
Bibliography
Acknowledgement



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