毕业文论设计论中国古诗英译中意境的传达大学论文.docx
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毕业文论设计论中国古诗英译中意境的传达大学论文
浙江大学远程教育学院
本科生毕业论文（设计）
题目论中国古诗英译中意境的传达
专业商务英语
学习中心
姓名学号
指导教师
2017年5月20日
摘要
在文学翻译中，诗歌翻译始终是最具挑战的核心部分。
中国古典诗歌的翻译已有很长的历史，译者百家争鸣，形成了多种诗歌翻译流派。
各家流派对中国古典诗歌翻译的理解不一样，因此策略技巧各不相同，但文学翻译的本质是审美的翻译，因此意境美作为中国古典诗歌的灵魂，就成为连接各家的共同点，这正是本文研究的基础。
本文在第一章首先介绍了有关中国古诗英译可译与不可译的争论。
随着翻译理论与实践的发展，中国古诗英译的可行性与必要性占了上风，并且出现了三个主要的派别，格律派、自由派以及创造派。
这三派各有不同的侧重点，但力争传达中国古典诗歌的美却是共同的。
文章由此引出意境之美的传达。
中国古典诗词翻译中的意境移植问题是一个相当难以探索的领域，其困难主要源于意境内涵本身的复杂性。
因此，本文第二章首先研究了意境在中国诗学中的起源与发展过程，区分了意象与意境：
意境指的是文学作品在其读者脑海中所引起的整体审美感应，而意象则指构成这一意境的具体的审美因素。
在这一区分的基础上，文章对意象根据其目的性作了分类，阐明了其美学特征。
意境由意象传达，但并非意象的简单叠加，因此意境的美学特征和意象的美学特征既有重叠之处，又不尽相同。
对中国古典诗歌的翻译，因此并不能仅仅停留在意象的翻译上，再现意境的美学特征才是重点，这也正是体现译者创造力的地方。
因此，文章第三章通过举例，详细阐述了在英译中国古典诗歌过程中对各种意境美的传达，主要包括动静美、空白美以及和谐美。
文章最后的个案分析对《春晓》的几个译文进行了从词到句，再到篇，以及从意象到意境的分析，指明了中国古典诗歌的翻译应重在把握总体意境，只有这样才能取得美学对等。
关键词：
中国古典诗歌翻译；意境；意象；审美再现
Abstract
Inliteraturetranslation,poetrytranslationisalwaysmostchallengeable.The
translationofclassicalChinesepoetryhasalonghistoryduringwhichdifferent
translationschoolsareformed.Theyholddifferentperspectivestowardsthetranslation
ofclassicalChinesepoetry;hence,takingadvantagesofdifferenttranslationstrategies
andtechniques.Sincethenatureofliteraturetranslationisthetransferenceofthe
aesthetictaste,thebeautyofideorealinasthesoulofclassicalChinesepoetryisthe
commongroundsoughtbydifferentschools.Thatformsthebasisofthispaper.
Inthefirstchapter,thepaperintroducestheargumentwhetherclassicalChinese
poetryistranslatable.Withthedevelopmentoftranslationtheoryandpractice,most
peopleholdthatthetranslationofclassicalChineseisnotonlypossiblebutalso
necessary.Andgradually,threeschools,namely,themetricalverseschool,thefreeverse
school,thecreativeschool,appears.Theyfocusondifferentaspects,buttheconveyance
ofthebeautyofthosepoemsremainsthesame.Thus,thebeautyofideoreahncanbea
commongroundforthem.
Duetothecomplexityofideorealminitselfitisdifficulttoexploreintherealmof
transferenceofideorealminclassicalChinesepoetry.Therefore,inchaptertwo,this
paperintroducestheoriginandthehistoricaldevelopmentofideorealininChinesepoetic
theories.Atsametime,differentiationsaremadebetweenideoreahnandimagerywhich
isthecarrierofideorealm.Tograsptheconnotationofimagerybetter,thispaperalso
classifiesimageryaccordingitspurpose,andpointsouttheaestheticfeatures.
Theaestheticfeaturesofideoreatmoverlapswiththatofimagery,notidentifying
withit.Thatisalsomadeclearinthepaper.Thus,thetranslationofclassicalChinese
poetryisnotmerelytranslationofimagery,thoughthesepoemsarefullofimages,but
theoverallideorealmwherethecreationoftranslatorslies.Thatiswhatchapterthree
illustratesbymanyexamples.Thatishighlightedinthecasestudyinchapterfour.
Keywords:
translationofclassicalpoetry;ideorealm;representationofaesthetictaste
Acknowledgements
IwishtoexpressmydeepestgratitudetoAssociateProfessorYiHonggen,mytutor,
whogavemeconsiderateandinspiringdirections,adviceandadmonishment,whichare
ofindispensablevaluetomyworkonthethesis.Iamparticularlyindebtedtohimforhis
conscientiouspatienceinreadingandimprovingthethesis}andhiskindencouragement
throughoutmythere-yeargraduatestudyprogram,withoutwhich,thisthesiswouldnot
exist.
IwouldliketothankallmyteachersinCCNUwhohavetaughtmepostgraduate
courses,towhomIowemuchofmyknowledgeintheEnglishlanguage,literature,and
culture.Theyhaveeitherbroadenedmyhorizonthroughtheirscholarlylectures.or
helpedmeineverypossibleway.
BesidesIamgratefultomyfamilyandfriendswhosesupport,helpandinspiration
allowedmetofocusonthethesiswithoutdistractionsandfinallycompletedthispaper
now
1.Introduction
1.1BackgroundoftheStudy
Poetryistheoldestliteratureform;itisthecrystallizationofthetimes,historyand
culture.Poetrynotonlyrepresentstheextensivenessandprofoundnessofanation's
culture,butalso,bymeansofconciselanguage,combinesidealandreality,timeand
space,senseandsensibilityForanationwithahistoryof5000years,theclassical
ChinesepoetryisabrilliantgemintheChineseliteratureaswellasintheworld
literature.Earlyintheendofthe19}'century,thewell-knownEnglishscholar-Herbert
G}GilesrenderedChineseTangPoemsintoEnglishverseswhichwerewellreceivedby
readersofEnglish.However,inthelonghistoryoftranslatingclassicalChinesepoetry
intoEnglish,thereisnotauniversallyacceptedtheoryforit.First,thereisaproblemof
translatability.ScholarslikeWenYduo（闻一多）holdthatpoetryisactually
untranslatable:
这到底是怎么一回事?
怎么中文的“浑金璞玉”，移到英文里来，就变成这样
的浅薄，这样的庸琐?
我说这毛病不在译者的手腕，是在他的眼光，就像这一类浑
然天成的名句，它的好处太玄妙了，太精微了，是禁不起翻译的。
你定要翻译它，
只有把它毁了完事!
譬如一朵五色的灵芝，长在龙爪似的老松根上，你一眼瞥见了，
很小心的把它采了下来，供在你的瓶子里，这一下可糟了!
从前的瑞彩，从前的仙
气，于今都变成了又干又瘪的黑菌。
你搔着头，只着急你供养的方法不对。
其实不
然，压根儿你就不该采它下来，采它就是毁它，“美”是碰不得的，一豁手它就毁
了。
HehasthesameopinionastheEnglishpoetrytranslatorJohnDenham
doe}Poetryisofsosubtleaspirit,山atinthepouringoutofonelanguageintoanother,
itwillevaporate.
Then,therearedifferentschoolsamongthosewhoclaimtranslatabilityofpoetry.
Thethreemajorschoolsaremetricalverseschool}freeschoolandcreativeschool.
Themetricalverseschoolpaysspecialattentiontothemeterandrhymescheme.Its
representativesincludeHebertCxGiles}JohnTuner,W.J.Fletcherandthewell-known
ChinesetranslatorXuYuanchong（许渊冲）.Xuisnotonlyatranslatorbutalsoatheorist.
HehasrenderedmanypoemsaswellasCipoemsandQupoemsintoEnglishand
French.Hisversionsrhymenaturally.Bothhispracticeandtheorywerehighlypraised
byQianZhongshu（钱钟书）.QianoncetalkedaboutXu'stwobook}ArtofTranslation
（《翻译的艺术》）andTheEnglishVersionsof300TangPoems（《英译唐诗300首》）
that“thetwobooksarecomplementaryasfeaturestothewingsofabirdorthestarsand
themoonaddradianceandbeautytoeachotherinthesky（二书如羽翼之相辅，星月之
交辉）".MuchofXu'stheoryconcerningthetranslationofpoetry,suchas"threebeauties
（三美论），，and"exploitingtheadvantagesofthetargetlanguagetothefull（发挥译语优
势论）”，isgraduallyaccepted勿moreandmorescholars.
Thefreeschooltranslatespoemsintofreeverseorprose.Theyfocusmoreonthe
spiritofthepoem.Theyholdthatrhymeinthetranslatedversionwilldefinitelyimpair
themeaningoftheoriginal;hence,thegoodtasteofthepoemislostintranslation.Army
Lowell,ArthurWaley，WitterBynnerandthefamousdomestictranslator-Weng
Xianliang（翁显良）aretherepresentatives.Wengoncesaid,"Thetranslationofapoemis
notmerelyacopyofit.Whetheritresemblestheoriginalornotliesinthespirit,notin
theappearance二。
Furthermore,thetranslationshouldnotsubjecttotherestraintofthe
traditionalform.Itmakesnodifferencewhetheritisrhymedanddividedintolines.Itis
quitefree.（再现绝不是临摹，似或不似，在神不在貌……更不必受传统形式的束缚，
押韵不押韵，分行不分行，一概无所谓，岂不自由得很?
）’’（翁显良，1985:
1）
TherepresentativesofcreativeschoolareEzraPound,ArthurWaley,WitterBynner
andKennethRexroth.Thisschooloverlapswiththefreeschool.Thedifferenceliesin
thatthecreativeschoolalsoputspoemsintofreeverse,buttheylayparticularemphasis
ontheexpressionofaestheticperceptionoftheChinesepoetrywhichisusually
subjective.Asaresult,sometranslatedversionsofthisschoolarenotregardedas
translationbutcreativeworkinsomeimportantpoe勺anthology.
1.2SignificanceoftheStudy
Sinceonecannotunderstandallthelanguagesintheworld,poetryshouldbe
translated.AsfortheEnglishtranslationoftheclassicalChinesepoetry,althoughthere
aregenerallythreeschools,whenweputtheirdifferencesaside,wecanfindthecommon
ground-theconveyanceofthebeautyofthepoetry.ThebeautyofclassicalChinese
poetryliesinthecreationofideorealm.IdeorealmisthesoulofclassicalChinesepoetry.
Itfusesthefeelingsofthepoetandthesettingofthepoem,leavingboundlessspacefor
thereadertoexplore.Inthisway,thereadercangointothepoet'srealmthroughthe
concreteimagesinthepoem.Manypoetrytranslatorshaveattachedgreatimportanceto
theideorealinofthepoetry.LinYutang（林语堂）oncesaid,"it（poetrytranslation）is
self-evidentthatideorealmisutmostimportant.（意境第一，自不必说。
）’’（林语堂，
1986:
53）Inhis"threebeauties"theory,XuYuanchongalsosaid,"intranslatingapoem,
thereproductionofthebeautyofmeaning（ideorealm）alwayscomesfirst.（在译诗时，传
达原诗意美是最重要的，是第一位的。
）’’（许渊冲，2006:
9）Onlywhenareadercan
appreciatetheideorealinoftheclassicalChinesepoetry,canheenjoythebeautyofthem.
Forthesamereason,wecanalsoholdthereproductionofideorealmasthecriteriafor
thetranslationofclassicalChinesepoetry.
AlthoughmanytranslatorsknowtheimportanceofideorealmforclassicalChinese
poetry,thereisnotmuchsystematicresearchonit.Thispaperwillmakeatentativeprobe
intothisrespect.
1.3StructureoftheThesis
Thispaperconsistsoffourchapters.Chapter1isanintroductionofthebackground
andthesignificanceofthestudy;Chapter2,thetheoryofideorealm,includingits
historicaldevelopmentanditscomponentswithaestheticfeaturesillustrated;Chapter3,
theaestheticfeaturesofideorealmandthetransferenceofthesefeaturesinthetranslation
ofclassicalChinesepoetry;Chapter4,acasestudy;Chapter5,conclusion.
2.TheoryofIdeorealm
2.1OriginandDevelopmentoftheTheoryofIdeorealm
IdeorealinisanimportantconceptinclassicalChine
升级会员 