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1、<p><b>  畢業(yè)論文開題報告</b></p><p><b>  英語</b></p><p>  漢詩英譯中的“神似”</p><p>  一、選題的背景、意義(所選課題的歷史背景、國內外研究現(xiàn)狀和發(fā)展趨勢)</p><p><b> ?。ㄒ唬v史背景</b>

2、;</p><p>  中國古代的詩詞歌賦可謂是歷史遺留至今的一大瑰寶,隨著社會和經(jīng)濟的不斷發(fā)展,特別是全球一體化的進程加快,我國古代詩歌的翻譯越來越受到各界文人學者的關注。但是漢詩的博大精深往往使得英譯工作變得越加困難,有不少人認為譯文不僅難以復制原作的感情,還會破壞其原有的魅力與精髓。嚴復就曾說過,有些文學作品根本不可譯,尤其是詩,因為詩歌的內容和形式緊密結合,難以分割。</p><p&g

3、t;  在英譯過程中,“形”與“神”的問題一直都是備受翻譯界爭議的話題之一,雖然從根本上來說兩者互為依存,但現(xiàn)今大家比較認可的觀點是:爭取英譯在意、形兩方面盡量表現(xiàn)原詩之美,忠于原作,達到神似、形似之要求。若二似無法兼顧,則舍形似而力保最重要的神似?!吧袼啤边@一概念首先是由著名的翻譯家傅雷先生提出,朱生豪也有“保持原作之神韻”的觀點,爾后,許淵沖提出了“三美論”——詩歌翻譯過程中以獲取意美、音美、形美為主要目標并以此最終達到傳神的境界,

4、“三美”的有機統(tǒng)一即是體現(xiàn)“神似”的關鍵。由此可見,詩歌翻譯中可譯或不可譯的因素并不是固定不變的,伴著時代的進步,中英兩種語言文化交流的增多,我們需要欣賞外國優(yōu)秀的詩作,同時也需要把我國精美的漢詩譯成外文,讓全世界人民細細品味中國古文化的精華部分,盡可能地傳達原詩的“意美”、“音美”和“形美”,幫助異國讀者獲取和本國讀者一樣多的共鳴與享受。盡管存在語言和文化構成上的差異,想要在翻譯過程中較為完美地取得“神似”仍然具有一些技巧,比如選詞方

5、法,修辭手法等等,都是不可忽視的必要因素。</p><p>  故本文試圖圍繞“神似”在漢詩英譯過程中的定位、表現(xiàn)以及如何達到“神似”的主要技巧這三方面來探討這個翻譯界中的熱點話題,并期望更多的中外學者參與到漢詩英譯的探究中來,把中華兒女的寶貴財富、中華文明的驕傲代表在全世界范圍內發(fā)揚光大。</p><p> ?。ǘ﹪鴥韧庋芯楷F(xiàn)狀</p><p>  現(xiàn)代許多學者

6、與翻譯家都在詩歌翻譯中關于“神似”提出了自己的觀點,主要有:</p><p>  1.“形似”與“神似”的處理</p><p>  汪榕培(1994)提到“傳神達意”是他一貫堅持的譯詩原則,關于傳神,既要做到形似,又要神似。從實踐上來看,“神似”更為重要,也是就在精神實質上對應或相似,從而給人以生動逼真的印象。郭建中(2000)表述了尤金·奈達關于在翻譯中意義對等與形式對等的看法

7、:意義是最重要的,形式其次。</p><p>  2.追求“神似”的途徑和策略</p><p>  劉重德(1994)認為“忠實性乃是信達切三原則的概括,既要求譯者做到保全原文意義的信,又要求做到譯文通順易懂的達,更要力求與原作風格的切合性。譯者應遵循等效原則,做到對原詩意義忠實、功能對等,從譯詩實踐上確實不能苛求用詞完全對等。只要選詞靈活,傳神達意,亦可使譯文達到音美、形美、意美等境界,

8、從而實現(xiàn)譯作與原作的“神似”。</p><p>  朱光潛(1997)指出“情趣恰隱寓于意象,可謂達到象征妙境?!薄熬扒槲呛希扳阋詡髑?。”對于漢詩的翻譯,尤以準確捕捉文化意象和深度理解其內涵為重。譯者在較為熟諳英語語言文化的基礎上,對其進行較為合理的對等重構,讓譯語讀者產(chǎn)生猶臨其境的感覺,從而使譯語讀者同源語讀者實現(xiàn)文化層面上的交流。</p><p><b> ?。ㄈ┌l(fā)展趨

9、勢</b></p><p>  漢詩英譯中的“神似”研究是一個融文學于翻譯學其中的學術命題。譯詩時,譯者即充當了溝通原詩作者與譯語讀者的紐帶或橋梁,發(fā)揮著對兩種語言文化信息匯總融合的處理中樞、傳遞媒介的作用。我們應牢記前人的理論總結,汲取精華,將其運用于翻譯實踐;更要在實踐中不斷摸索、總結,在一些細枝末節(jié)的問題上,找到恰當可行的辦法,使譯詩等效于原詩在源語讀者中產(chǎn)生的效果。而今后的發(fā)展趨勢將進一步明確

10、“神似”于漢詩英譯中的作用,以“神似”作為英譯過程中的終極目標。只有使越來越多的漢詩英譯作品在深度的文化內涵和精神境界上不遜色于原作,才能讓祖國璀璨的歷史文化在譯語國度大放異彩。</p><p>  二、相關研究的最新成果及動態(tài) </p><p>  如今,隨著時代的進步和異國文化的交流,文學作品的翻譯早已打破不可譯的禁錮,特別是詩歌,翻譯作品層出不窮,還有不少佳作為人津津樂道。同時,還有

11、許多來自國外的相關理論知識融匯于詩歌翻譯的領域中,例如西方哲學素來追求一分為二地看待問題,即解析的二元論。若把它運用于翻譯實踐也未嘗不可。進行翻譯時,我們沒有必要必須做非此即彼的選擇,應當靈活變通,這也符合發(fā)展和變化的規(guī)律。翻譯時,遣詞造句十分重要,因為盡管譯詩要從結構、用韻、風格甚至是文化意象等多方面進行把握,歸根結底還是要通過仔細推敲而來的譯語詞匯來表現(xiàn)的。</p><p>  若想要忠實等效地表述原作,還需

12、要悉心留意譯詩過程中的各個層面,力求忠實。譯好一首漢詩須從選材砌筑的基石開始,要準確到位地選擇語言材料;若要產(chǎn)生視聽上的美感共鳴,必要傳神達意地斟酌用韻;欲求再現(xiàn)原作豐姿,則要恪守原詩風格;更重要的是,要對等重構文化意象,深入揣摩源語內涵。</p><p>  當今詩歌翻譯的領域還有一大特點,那就是多樣性,不僅體現(xiàn)在譯文的表現(xiàn)形式上,更多的則是反映在對于原作的多重理解上。例如《錦瑟》是歷來被人稱道的一部李商隱的佳

13、作,雖然字面意思易于理解,但是其詩歌固有的朦朧美讓人難以把握。其文字錦繡華麗,情意纏綿悱惻。對這首蘊含深奧的詩,各家都有不同的猜測。有人說是看破名利,有人說是追悼亡妻,還有人說是抒發(fā)熱愛亡國之情懷。此詩為李商隱作品中最為不明顯的一首,短短八句,用典竟達四處之多。僅只五十六個字卻承載了深厚的感情和難于言表的釋然。</p><p>  三、課題的研究內容及擬采取的研究方法、技術路線及研究難點,預期達到的目標</

14、p><p><b> ?。ㄒ唬┭芯績热?lt;/b></p><p>  本文主要探究漢詩英譯中的“神似”問題,其研究基本內容主要包括以下幾個方面:</p><p>  1.“神似”在漢詩英譯中的定位</p><p>  主要探討了近年來“形”與“神”在詩歌翻譯中的關系和處理觀點,進而總結出注重“神似”的重要性。</p>

15、;<p>  2.“神似”在漢詩英譯中的具體體現(xiàn)</p><p>  主要以許淵沖先生的“三美論”為主導線,分別從“意境”、“聲音”和“形象”三方面著手,列舉各自的經(jīng)典代表詩作譯文來反映“神似”于具體詩歌中的主要表現(xiàn)形式。</p><p>  3.達到“神似”的關鍵技巧和方法</p><p>  主要探討了翻譯前和翻譯中譯者所需了解和注意的三個方面:在

16、翻譯前,掌握詩作的中心思想和主要基調是必須,在翻譯中,運用一些手段和方法同樣不容小覷,如直(意)譯的選擇等。</p><p><b>  (二)研究方法</b></p><p>  1、分類法:分類討論不僅是數(shù)學思想,把不同的信息分類,有便于研究工作的順利進行。經(jīng)過分類,“神似”的“三美”等體現(xiàn)方面可以清晰地突現(xiàn)出來,更具說服力。</p><p&g

17、t;  2、提取法:紛繁復雜的原始資料,不經(jīng)提取,不免令人眼花繚亂。因此,需要將所得資料進行整理和篩選,只有經(jīng)過擇優(yōu)錄取,才可提取到真正有用的信息。 </p><p><b>  (三)技術路線</b></p><p>  首先通過所掌握的資料,解釋“神似”這一術語在漢詩英譯中的特殊地位,接著從三大主要方面——許淵沖的“三美論”來分別分析“神似”于翻譯中的體

18、現(xiàn),然后還將探討取得“神似”的關鍵技巧,最后總結得出結論。 </p><p><b> ?。ㄋ模┭芯侩y點</b></p><p>  中國古典詩歌廣博高深,語言準確凝練,意向豐富,意境深廣。中國古詩語言經(jīng)過歷代文人墨客的推敲提煉,擁有著豐富多彩的詞藻,營造了含蓄深廣的氛圍。這些看似簡單易懂的方塊字,在詩人的筆中按照行云流水的體式格局勾勒出一幅含蓄雋永的畫面。這就是中國

19、古詩的特色,說一是二,意在言外,給人以難以琢磨的美感,而英文則講究準確科學。因此在詩歌的翻譯中,中國古詩的英譯十分困難,尤其是想要精確轉達出詩歌中的“神韻”。</p><p><b> ?。ㄎ澹╊A期目標</b></p><p>  由于不少人對于“神似”這一概念在漢詩英譯中定位和作用的不了解,對其缺少明確和系統(tǒng)的認識,以致在譯詩過程中產(chǎn)生困惑或者翻譯結果并不理想,為此

20、,本文著重要解決的問題就是梳理“神似”在翻譯實踐中的概念及運作形式,通過列舉經(jīng)典漢詩的譯文來展現(xiàn)“神似”的具體表現(xiàn)方面,并試從取得“神似”的主要方法和技巧上來進一步分析“神似”的實現(xiàn)性。</p><p>  四、論文詳細工作進度和安排</p><p>  1. 2010年10月中旬----指導老師指導下,參考文獻,確定論文題目。 2.2010年11月-12月----充分合理安排

21、時間,查閱文獻,完成中文文獻綜述、開題報告。 3. 2011年1月----開始撰寫初稿。 4.  20011年3月-4月——論文修改工作:與指導老師保持密切聯(lián)系,認真對待論文修改工作,直到完成終稿。 5. 2011年5月中旬——提交論文終稿。</p><p><b>  五、主要參考文獻</b></p><p>  AS

22、Hornby. Oxford English Dictionary[M].London: Oxford University Press. 1997</p><p>  Nida, Eugene A, Language, Culture and Translating, [M], Shanghai: Shanghai Foreign Language Education Press. 1993</p>

23、<p>  毛華奮.漢語古詩英譯比讀與研究[M],上海社會科學院出版社,2007</p><p>  顧正陽.古詩詞曲英譯美學研究[M],上海大學出版社,2006</p><p>  許淵沖.唐宋詩一百五十首許淵沖[M],北京大學出版社,1995,</p><p>  任鶯.從“三美論”看古詩意境美的英譯[J],齊齊哈爾大學學報,2007,6:135~

24、137</p><p>  許均.“形”與“神”辯[J],外國語,2003,2:57~66</p><p>  王建平.漢詩英譯中的格式塔藝術空白處理[J],外語學刊,2005,4:84~90</p><p>  胡慧.漢詩英譯中的審美移情[J],湘潭大學學報,2007,2:154~158</p><p>  穆詩雄.淺談英譯中國古詩中的隱喻

25、[J],外語與外語教學,2000,6:51~59</p><p>  孫娜.目的論指導下古詩詞英譯中典故的處理[J],今日南國,2010,1:89~92</p><p><b>  畢業(yè)論文文獻綜述</b></p><p><b>  英語</b></p><p>  漢詩英譯中的“神似”</

26、p><p>  前言部分(說明寫作的目的,介紹有關概念,扼要說明有關主題爭論焦點)</p><p>  中國漢詩的深邃精妙世界聞名,卻也給英譯工作帶來了不少困難之處。例如漢詩中會出現(xiàn)一些生僻的用詞,連本國的學者在理解上都有一定難度,更不必提把它轉為外語后仍能取得同樣效果的難度性了。</p><p>  “神似”是指翻譯時注意譯詩在神韻和意蘊方面保持和原作的高度相似,以重

27、現(xiàn)原詩的精髓為目標的一個翻譯概念。它往往和“形似”一同提出,歷史上有關“形”與“神”關系的爭論一直存在,最早可追溯到1921年茅盾在《小說月報》上發(fā)表的《新文學研究者的責任與努力》一文,其中提出:“文學作品最重要的藝術色就是該作品的神韻?!贝撕螅忻┒?、傅雷主張重神似不重形似,江楓主張形神兼?zhèn)?,而卞之琳則主張形似即神似等派別。奈達在與泰伯合著的《翻譯理論與實踐》一書中也說:“詩的格律、詩的離合特征、有意采用的頭韻形式等,都是不可翻譯的語

28、言現(xiàn)象。在這一點上,不同語言之間就是沒有對應關系的,因此我們只好犧牲形式以保存內容?!?lt;/p><p>  總結前輩們的閃光思想,現(xiàn)代詩歌翻譯中,較為推崇的說法是:翻譯首先追求形神兼?zhèn)?,如若不能,則先神似而后形似。因此,漢詩英譯中的“神似”問題,成為了翻譯過程中的重點問題,當然也是難點,既然”取得“神似”是譯者首要關注的,也是翻譯詩作的最終目的,故本文以漢詩英譯中的“神似”為中心,展開探討了其在翻譯中的地位、體現(xiàn)

29、和獲取技巧。旨在研究“神似”于漢詩英譯中的重要性和功能性并望各界學者、譯者引以重視,將其作用發(fā)揮極致于我國詩歌的翻譯事業(yè)中。</p><p>  二、主題部分(闡明有關主題的歷史背景、現(xiàn)狀和發(fā)展方向,以及對這些問題的評述)</p><p>  “形”與“神”的處理問題在詩歌翻譯方面向來廣受文人學者所關注,顯然,它們是一對重點。法國翻譯理論家喬治·穆南在他1963年出版的《翻譯的理

30、論問題》一書中說道:“詩律是基于語言特征的基礎上形成的;不同的語言,其語言特征各不相同。因此,詩律是不可移植的。從這一觀點出發(fā),他認為,如果人們認識到作品真正的內容整體,認識了這內容與某種形式的真正關系,人們就可以運用另一種語言形式,表達同樣的內容,產(chǎn)生同樣的或盡可能近似的效果”。而就像郭著章先生所說的那樣:“我在譯詩和評論詩歌英譯時所遵循的原則是:盡最大努力爭取英譯在意、形、音三方面都表現(xiàn)原詩之美,忠于原作,達到神似、形似乃至音似之要

31、求。所謂神似就是如實傳達原詩內容和風格信息以及神情韻味……若三似無法兼顧,則舍音似而保意似和形似;在意、形之似無法得兼的情況下,則舍形似而力保最重要的意似,決不做因韻害義等削足適履之類的事情。”,故“神似”的重要性不言而喻。</p><p>  對于“神似”的體現(xiàn)點和追求技巧,我國著名翻譯理論家劉重德(1994)認為“忠實性乃是信達切三原則的概括,既要求譯者做到保全原文意義的信,又要求做到譯文通順易懂的達,更要力

32、求與原作風格的切合性。譯者應遵循等效原則,做到對原詩意義忠實、功能對等,從譯詩實踐上確實不能苛求用詞完全對等。只要選詞靈活,傳神達意,亦可使譯文達到音美、形美、意美等境界,從而實現(xiàn)譯作與原作的“神似”。許淵沖先生的“三美”說應該說是借鑒于魯迅。他曾提到“魯迅在《漢文學史綱要》第一篇《自文學至文章》中說過:漢語具有意美、音美、形美三大優(yōu)點?!庇谑撬殃P于漢語的這三美推及翻譯領域中。而從“三美”說的翻譯原則來看,許淵沖還主張應首先追求意美,

33、其次求音美,再求形美,并力求三者統(tǒng)一,即“best words in best order”。其實漢詩英譯的過程就是重現(xiàn)原詩“三美”的過程,當然,不僅僅只有這三美,詩歌還具有動靜美、流動美、別趣美、空白美等等,正是這各種各樣的美才構成了詩歌的獨特魅力和神韻。而在英譯過程中,我們特別需要注意的即是全面理解并掌握原詩中的美,這是取得“神似”的必經(jīng)之路。</p><p>  隨著全球經(jīng)濟的一體化和全球文化交流的日益密切

34、,我們可以看出今后的漢詩英譯領域不僅僅是譯者一個人單槍匹馬的戰(zhàn)地,而是學者們之間的多重交流。</p><p>  舉個例子:在漢語古詩翻譯中,龐德的《華夏集》在英美讀者中影響極大,盡管我們國內不少評論家批評其譯文的不忠實。但其所謂的“不忠實”,除了因為他不懂漢語這一原因外,更主要的原因是其所遵循的詩學原則。作為西方意象派詩歌的創(chuàng)始人和主要代表,龐德從中國古詩中所呈現(xiàn)的意象中找到了根據(jù),獲得了鼓舞。值得一提的是,他

35、的翻譯之所以備受西方學者的推崇和英美讀者的贊賞,是因為他有明確的翻譯目的和讀者對象。其翻譯就是要推動自己發(fā)起的意象派運動;其讀者對象非常明確,就是不懂漢語的英語讀者。因而他所采取的譯詩策略是“凝縮、簡練、含蓄,突出意象美,抓住寫詩時內在沖動的節(jié)奏感”。他在翻譯時不是推敲詞句,而是使自己的感情進入原詩作者的角色,將原作中的思維方式和感情方式進行濃縮提煉,再傳達到英語中去。</p><p>  可見“神似”的重要性和

36、取得會并一直作為翻譯的重心,只是思維方式和角度可能更加多樣化,只要有利于詩學的傳播和交流,均可考慮采納。</p><p>  三、總結部分(將全文主題進行扼要總結,提出自己的見解并對進一步的發(fā)展方向做出預測)</p><p>  漢詩的翻譯不是那么容易,而對“神似”的把握更是要從多方面進行縝密的考慮和思量。我們衡量漢詩英譯作品質量的好壞,不是完全以詩體或散體,或押韻、不押韻等來簡單地加以判

37、斷,而應結合具體譯作是否掌握了原詩的神韻和精髓來看。本論文希望能給漢詩英譯中的“神似”研究提供一個綜述概括的整理,并且對加深了解詩歌翻譯中的美的具體表現(xiàn)和與之相關的一些掌握技巧具有一定的意義。而在漢詩英譯時熟悉中西不同的文化背景和個人的認知鑒別能力也是非常重要的。</p><p>  四、參考文獻(根據(jù)文中參閱和引用的先后次序按序編排)</p><p>  AS Hornby. Oxfor

38、d English Dictionary[M].London: Oxford University Press. 1997</p><p>  Nida, Eugene A, Language, Culture and Translating, [M], Shanghai: Shanghai Foreign Language Education Press. 1993</p><p>  

39、毛華奮.漢語古詩英譯比讀與研究[M],上海社會科學院出版社,2007</p><p>  顧正陽.古詩詞曲英譯美學研究[M],上海大學出版社,2006</p><p>  許淵沖.唐宋詩一百五十首許淵沖[M],北京大學出版社,1995,</p><p>  任鶯.從“三美論”看古詩意境美的英譯[J],齊齊哈爾大學學報,2007,6:135~137</p>

40、<p>  許均.“形”與“神”辯[J],外國語,2003,2:57~66</p><p>  王建平.漢詩英譯中的格式塔藝術空白處理[J],外語學刊,2005,4:84~90</p><p>  胡慧.漢詩英譯中的審美移情[J],湘潭大學學報,2007,2:154~158</p><p>  穆詩雄.淺談英譯中國古詩中的隱喻[J],外語與外語教學,2

41、000,6:51~59</p><p>  孫娜.目的論指導下古詩詞英譯中典故的處理[J],今日南國,2010,1:89~92</p><p><b> ?。?0_ _屆)</b></p><p><b>  本科畢業(yè)設計</b></p><p><b>  英語</b><

42、;/p><p>  漢詩英譯中的“神似”</p><p>  The Spiritual Resemblance in the Translation of Chinese Classical Poetry</p><p><b>  內容摘要</b></p><p>  漢詩的博大精深往往使得英譯工作變得越加困難,經(jīng)過歷代

43、文人學者的努力,詩歌的可譯性已經(jīng)不再是個問題,而且翻譯中注重“神似”問題更是重中之重?!吧袼啤笔侵阜g時注意譯詩在神韻和意蘊方面保持和原作的高度相似,以重現(xiàn)原詩的精髓為目標的一個翻譯概念。本論文分別從“神似”在漢詩英譯過程中的地位、體現(xiàn)、與取得技巧這三方面來具體論述這一議題,首先,漢詩英譯中的“神似”處理必須引以重視,因為神韻是詩歌的實質存在。其次以“神似”的具體體現(xiàn)為重點,展現(xiàn)了其在翻譯中的運作,即,漢詩中的神韻主要體現(xiàn)于詩中的美,以

44、許淵沖的“三美論”為主導線的一系列美的分析是我們?yōu)槿〉蒙袼贫仨氉龊玫墓φn。最后,掌握一些取得“神似”的關鍵技巧也對漢詩的翻譯起著不可忽視的作用。</p><p>  關鍵詞:漢詩;英譯;神似;“三美”</p><p><b>  Abstract</b></p><p>  The profundity of Chinese classica

45、l poetry makes it more difficult to do the translation work and through the hard efforts from scholars and translators of all generations, the translatability of the poetry is no longer a problem. Moreover, emphasizing o

46、n the spiritual resemblance during translation is a top priority. The spiritual resemblance refers to the high similarity that shall be achieved in translation with the original poem in the aspects of spiritual charm and

47、 implication and for the p</p><p>  Key words: Chinese classical poetry; English translation; the spiritual resemblance; “three beauties”</p><p><b>  Contents</b></p><p>

48、;  AbstractⅡ</p><p>  1 Introduction1</p><p>  2 The Spiritual Resemblance in the Translation of Chinese Classical Poetry2</p><p>  2.1The Methods of Dealing with the Spirit and

49、 the Form2</p><p>  2.2The Necessity of Emphasizing the Spiritual Resemblance3</p><p>  3 Specific Embodiments of the Spiritual Resemblance3</p><p>  3.1 Three Classical Embodi

50、ments---- the “Three Beauties”4</p><p>  3.1.1 Reconstruction of the Conception4</p><p>  3.1.2 Recapture of the Sound6</p><p>  3.1.3 Remodeling of the Image9</p><

51、;p>  3.2 Other Conventional Embodiments11</p><p>  4 Critical Skills for the Achievement of the Spiritual Resemblance12</p><p>  4.1Understanding of the Central Idea12</p><p&g

52、t;  4.2Mastery of the Fundamental Tone13</p><p>  4.3Utilization of the Expressional Techniques14</p><p>  5 Conclusion16</p><p>  Bibliography17</p><p>  Acknowl

53、edgements18</p><p>  Introduction</p><p>  Chinese classical poems are true rarities in the eyes of the world, with the high development of the society and economy, especially the fast speed of

54、 the globalization process, the translation of the poems has received much attention from scholars in all fields. Meanwhile, the profundity of Chinese classical poetry always makes it more difficult for us to do the tran

55、slation work. Many people believe it is difficult for the translators to reproduce the thoughts and feelings of the original work </p><p>  However, the advancement of society has improved the communication

56、between Chinese and English languages. We demand their prominent poems and also like to provide them our essential part of the traditional culture. Therefore, the aim of translation is to convey the beauty of conception,

57、 beauty of sound and beauty of image in a maximum extent, helping English readers acquire the same resonance and enjoyment as us Chinese readers. </p><p>  During the process of translation, the problem of h

58、ow to deal with the “form” and “spirit” has been one of the topics that universally disputed in the translation field. Although, basically they depend on each other for existence, what is widely accepted is we should end

59、eavor to represent the beauty of the original poem in the two aspects of “form” and “spirit” and be faithful to the original poem, meeting the requirements of the spiritual resemblance and formal resemblance. If the two

60、resemblan</p><p>  The concept of the spiritual resemblance was firstly brought up by Mr. Fu Lei, a famous translator in China. And Zhu Shenghao had also the opinion of “keeping the spirit of the original po

61、em”. Afterwards, Xu Yuanchong put forward the theory of “three beauties”---- the translation of a poem must be based on the purpose of achieving the beauty of conception, sound and image in order to reach the “spiritual

62、resemblance” as an ultimate goal, in another word, the unity of three beauties is very criti</p><p>  Therefore, in this paper the spiritual resemblance is going to be probed in three aspects as its status,

63、embodiments and critical skills of reaching it. And more expectations are attached to the future reach of the Chinese classical poetry translation by scholars and translators from both native land and foreign countries i

64、n order to spread the great treasures---- the representative of the Chinese civilization all over the world.</p><p>  2. The Spiritual Resemblance in the Translation of Chinese Classical Poetry</p>&l

65、t;p>  2.1 The Methods of Dealing with the Spirit and the Form</p><p>  “The definition of the spiritual resemblance is the faithful expression of the content, style and particular charm of the original wo

66、rk, according to Guo Zhuzhang” (Mao Huafen, 2007:52). Meanwhile, the spiritual resemblance pays more attention on the identity of the usage on words, structures of sentences, techniques of expression and so on.

67、 </p><p>  “The discussion about how to deal with the spirit and the form is quite furious for a long time amongst translation circles, especially in the translation of a Chinese classical poem. There ha

68、ve been a group of scholars with the opinion of putting the spiritual resemblance in the first place such as Mao Dun, Fu Lei, Xu Yuanchong”(Xu Jun, 2003:60). While on the other hand, translators like Jiang Feng, Bian Zhi

69、lin give the priority to the formal resemblance or they are convinced that both form and</p><p>  There is no doubt that spiritual resemblance and formal resemblance can reach to a perfect combination, but i

70、n most cases, it is really hard for the translators to achieve both of them. In this paper, the idea that we should emphasize firstly the spiritual resemblance is preferred when a poem being translated since Chinese lang

71、uage attaches great importance to the spiritual integration.</p><p>  2.2 The Necessity of Emphasizing the Spiritual Resemblance</p><p>  The process of translation is a kind of re-creation in a

72、ppreciating of the beauty from the translator. The key to that kind of re-creation is to grasp the main ideas hidden in the original works, based on which the original forms must be abandoned. Instead, specific words, se

73、ntences and structures should be picked out to represent the originals. Therefore, a good translation is on the basis of an accomplishment of the spiritual resemblance, with which can those gorgeous forms take effect. Sp

74、irit</p><p>  When we deal with a Chinese classical poem, emphasizing the spiritual resemblance is more important because Chinese language is full of complexity that without understanding of the deep thought

75、s and emotions can we hardly express the characters and charm of the original poem. For instance, an image is often used in a Chinese classical poem like “落日”(sunset), standing for the emotion of being reluctant to part.

76、 In addition, the remarkable features of Chinese classical poetry are implicit, reserve</p><p>  Specific Embodiments of the Spiritual Resemblance</p><p>  “Beauty is the characteristics and ess

77、ence of the art, as well as of the literature, even more of the poetry. Although there are three functions of the poetry---- recognition, education and aesthetic, the most important function is the aesthetic one. Without

78、 it, readers may bring sense of disgusted and tiresome when they are faced alone with dull functions of recognition and education and which can not be realized as the result”(Gu Zhengyang, 2006:2).</p><p>  

79、The translation of a poem should take the achievement of beauty as the initial aim of reaching spiritual resemblance. In another word, all kinds of beauties in the translations are academically the specific embodiments o

80、f spiritual resemblance.</p><p>  3.1 Three Classical Embodiments---- the “Three Beauties”</p><p>  It is inadvisable to evaluate a translation broadly without a widely-acceptable standard. The

81、theory of “three beauties” was brought up by Xu Yuanchong, which has received great attentions amongst translation circles.</p><p>  It is introduced by Xu Yuanchong that the translation of a poem should con

82、vey as much as possible the beauty of conception, beauty of sound and beauty of image. However, it is not a parallel relation among them: the beauty of conception is the most essential of the three, then comes the beauty

83、 of sound and at last the beauty of image. If the “three beauties” can not be achieved at the same time, the formal resemblance can be given up as well as the sounds’ but by no means should the beauty of co</p>&l

84、t;p>  3.1.1 Reconstruction of the Conception</p><p>  “Conception in Chinese classical poetry refers to a kind of artistic state formed by the integration of the thoughts and feelings with the pictures an

85、d scenes possessed and depicted respectively by the poets”(Gu Zhengyang, 2006:18). The beauty of conception lies in the possibility of constructing a dynamic, charming and profound composition by using the simplest form

86、and the most refined words. Readers may capture strong imagery from the conception in which merges paintings with poems. </p><p>  In a word, conception is an integration of aesthetic objects and thoughts as

87、 well as an integration of specific boundary and deep emotion, which has a close link with the reflection on life. For the purpose of grasping the beauty of conception, we should represent a realm of the invisible with c

88、oncrete words and sentences. Translators may reproduce the beauty by creating the effect of retention within the limited words, in this way can readers have a chance to bring their own imagination into fu</p><

89、p>  It is an important standard for us to make a judgment on the quality of a poem. During the translation of literature, it is the translators’ obligations to pursue the conception at the very beginning and their aim

90、s to create one as equivalent as the original’s. </p><p>  “Generally conception can be divided into the first quadrant of conception (external conception) and the second quadrant of conception (internal con

91、ception). A poem of the second quadrant of conception always possesses both dual conceptions and meanings, which are revealed by external conception. In order to achieve that, one must go through a winding path to a secl

92、uded spot---- acquiring the symbolic meaning through the surface in disguise”(Gu Zhengyang, 2006:4). Take a famous English version o</p><p>  Why should the zither sad have fifty strings?</p><p>

93、;  Each string, each strain evoke but vanished springs;</p><p>  Dim morning dream to be a butterfly;</p><p>  Amorous heart poured out in cuckoo’s cry.</p><p>  In moonlit pearls s

94、ee tears in mermaid’s eye;</p><p>  From sunburnt jade in Blue Field let smoke rise!</p><p>  Such feeling cannot be recalled again;</p><p>  It seemed long lost e’en when it was fe

95、lt then.</p><p>  (Tr, by Xu Yuanchong)</p><p>  The poem is a picture of life, which composed by four allusions----- Zhuangzi once dreamt that he became a butterfly but was still himself when h

96、e woke up with no idea where did the butterfly went; the king of Shu State, Du Yu died after the destruction of his country and his soul turned into a cuckoo which wept sadly in late spring; in the sea there was a mermai

97、d crying in the bright moon whose tears shaped into pearls; Blue Field featured the jades and in warm sunny days raised smoke which can</p><p>  It tells a recollection of separation between life and death j

98、ust like a dream from different aspects. The picture full of symbolic significance is blended with sentiment of lost ages, grief of tortuous love and sorrow of shattered dreams, implying howling and profound hatred with

99、wispy beauty of dimness.</p><p>  It is a typical work of Chinese classical poetry because of its obscurity, which lies in the essence of a classic. Although it is hard even for us Chinese readers to compreh

100、end it thoroughly, as long as we make an intensive study we can accomplish a nice translation just like this one from Mr. Xu. </p><p>  The tone of whole poem is about “sadness”. So “sad” was used at the fir

101、st place to convey the intension explicitly. Then a rhetorical question in the translation embodies exactly the ignorance of passing years and usage of “string” and “strain” at the second line achieves both the beauty of

102、 sound and image, providing a memory of the past happiness. “Vanished springs” extends the vibration of “youth is short” which suits perfectly for the value-orientation of localization and at the same time rhy</p>

103、<p>  It is deserved to be mentioned that there is a fairy tale about mermaid in western countries which is quite similar to “鮫人” in Chinese figures---- they are female mermaids with human heads and fishtails. Ther

104、efore, it is advisable to make the conversion of legends in translation in order to provide a familiar context for readers to acquire the real meaning of the poem and get into the second quadrant of conception from the f

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