从翻译美学看抒情散文英译

论文摘要

散文是一种自由的文体,在各种文体中散文的界定较为模糊。广义的散文是指与诗歌相对立的文体,狭义的散文是指与诗歌、小说、戏剧相并列的文体。本文借用狭义散文的概念,并将研究对象缩小至抒情散文。作为散文的一种,抒情散文情感充沛真实、语言形象生动、音韵和谐动听、意境深远悠长。抒情散文的这些审美特征要求译者从美学角度予以翻译。自古以来中国传统译论蕴含着丰富的美学思想,而且直至今日翻译美学理论仍然受到一些学者、译者的广泛关注,这些都使我们更加清晰地看到翻译美学理论在翻译实践中的必要性和重要性。从翻译审美客体的角度看,抒情散文的美感集中体现在其形式系统和非形式系统,即微观层面与宏观层面。无疑,实现这两个层面的双赢是抒情散文翻译的理想境地。然而翻译审美客体美感特质的再现始终离不开翻译审美主体审美功能的发挥,因而有必要了解翻译审美主体的审美认知过程和译者审美素养,从而有助于抒情散文美感的再现。本文拟以刘宓庆的翻译美学理论为基本框架,以抒情散文为研究对象,论证翻译美学理论运用于抒情散文翻译的必要性;同时结合许渊冲翻译美学理论评析抒情散文英译本、探讨翻译美学理论的应用。在此基础上得出结论——为更好地翻译抒情散文,翻译美学理论应当始终贯穿于抒情散文翻译的各个层面:译者应以美感作为翻译的关照,适当运用许渊冲翻译美学理论,再现审美客体的美感特质;就审美主体而言,译者应该了解审美认知过程并有意识地培养自己的审美素养,以期提高抒情散文翻译的质量。

论文目录

• Acknowledgements
• 摘要
• Abstract
• Introduction
• Chapter 1 Prose and Lyric Prose
• 1.1 Definitions of Prose and Lyric Prose
• 1.2 Characteristics of Lyric Prose
• 1.2.1 Sincere Feelings
• 1.2.2 Vivid Images
• 1.2.3 Harmonious Sounds
• 1.2.4 Profound Artistic Conception
• 1.3 Types of Lyric Prose
• 1.3.1 Directly Expressing Feelings
• 1.3.2 Indirectly Expressing Feelings
• 1.3.2.1 With the Help of Event or Character Narration
• 1.3.2.2 With the Help of Scenery or Object Description
• 1.3.2.3 With the Help of Narration,Description and Argumentation
• Summary
• Chapter 2 Translation Aesthetics and Lyric Prose Translation
• 2.1 Introduction to Translation Aesthetics
• 2.1.1 Definition of Translation Aesthetics
• 2.1.2 Necessity of Translation Aesthetics
• 2.1.3 Significance of Applying Translation Aesthetics to Lyric Prose Translation
• 2.2 Xu Yuanchong's Translation Aesthetic Theories
• 2.2.1 Reasons for Applying Xu's Theories to Lyric Prose Translation
• 2.2.2 The Main Components of Xu's Translation Aesthetic Theories
• 2.2.2.1 The Theory of"Beauty in Three Aspects"
• 2.2.2.2 The Theory of"Particularization,Generalization and Equalization"
• 2.2.2.3 The Theory of "Understandable,Enjoyable and Delectable"
• 2.2.2.4 The Theory of "Make Full Use of Good Expressions of the Target Language"
• Summary
• Chapter 3 Representation of Aesthetic Flavor in TAO from the Perspective of Translation Aesthetics
• 3.1 Formal System
• 3.1.1 Beauty in Sound
• 3.1.1.1 Beauty Derived from Rhythm
• 3.1.1.2 Beauty Derived from Musical Sotmds
• 3.1.2 Beauty in Form
• 3.1.2.1 Beauty Derived from Shape of Words
• 3.1.2.2 Beauty Derived from Parallel Structure
• 3.1.2.3 Beauty Derived from Sentence Length
• 3.1.3 Beauty in Sense
• 3.1.3.1 Beauty Derived from Appropriateness
• 3.1.3.2 Beauty Derived from Conciseness
• 3.1.3.3 Beauty Derived from Imagery Rhetoric
• 3.2 Non-Formal System
• 3.2.1 Beauty Derived from Feelings or Emotions
• 3.2.2 Beauty Derived from Images
• 3.2.3 Beauty Derived from Artistic Conception
• Summary
• Chapter 4 Translators' Aesthetic Cognitive Processes and Aesthetic Qualifications from the Perspective of Translation Aesthetics
• 4.1 Translators' Aesthetic Cognitive Processes
• 4.1.1 Aesthetic Emotion
• 4.1.2 Aesthetic Sensation and Perception
• 4.1.3 Aesthetic Imagination
• 4.1.4 Aesthetic Comprehension
• 4.1.5 Aesthetic Representation
• 4.2 Translators' Aesthetic Qualifications
• 4.2.1 Keen Aesthetic Awareness
• 4.2.2 Enriched Aesthetic Experience
• 4.2.3 Great Bilingual Proficiency
• Summary
• Chapter 5 Conclusion
• 5.1 Major Findings of the Study
• 5.2 Significance of the Study
• 5.3 Recommendations for Further Research
• Bibliography
• 攻读学位期间发表的学术论文目录