以勒弗菲尔的操纵理论评析许渊冲的理论与实践

论文摘要

作为一位著名的多产翻译家,许渊冲的诗歌翻译理论与实践必然有着其值得仔细研究探讨的价值,然而对于他的翻译理论和实践都有不同的声音,有人称他为中国传统译论的终结者,有人与他进行三次论战,其褒也狂,其贬也骤,众说纷纭,莫衷一是。本文正是在这种情况之下决定跳出汉语传统翻译思维范畴,运用国外比较先进的操纵理论来评析许的翻译理论与实践,主要原因为,一,操纵理论比较全面;二,操纵理论本质是文学翻译理论,这与许的翻译研究相近。本文分为六个部分:第一章对勒弗菲尔其人其学术生涯先做一个简要的介绍,而后客观地回顾了勒弗菲尔操纵理论的理论背景,以及操纵理论的三个重要操纵因子,即:赞助人,意识形态和诗学以及它们之间的相互关系。第二章主要介绍了许渊冲其人,其翻译思想的最初来源及其作为翻译家所取得的成就。第三章从许的翻译本体论,方法论,目的论和认识论四个大方面详细讨论了许渊冲的翻译理论,即美化之艺术,创优似竞赛。第四章主要从“三美”的理论背景以及许渊冲的来传达“三美”的翻译方法来详细讨论许的诗歌翻译实践。第五章是本文的两个中心和重点之一。主要从勒弗菲尔操纵理论三大操纵因子,即:赞助人,意识形态和诗学的角度分析许渊冲的翻译理论。结果发现许渊冲从“三美”转向“创造三美”的理论基础就是“语言尤其是诗歌的多意性”文章接着就进一步分析中西哲学里对这一哲学命题的研究。中国对这一命题的哲学讨论主要体现与《易经》而西方最彻底的就是解构主义思潮,通过对比讨论发现语言尤其是诗歌的确存在“多意性”。第六章是本文的另外一个中心和重点。本章主要是通过勒弗菲尔操纵理论三大操纵因子,赞助人、意识形态和诗学的角度分析许渊冲的翻译实践。结果发现许渊冲深受中国古典诗学的影响而较少注意西方诗学范畴,继而本章从诗歌外延、诗歌本质以及表达思想感情的方式三个大方面详细回顾了中西诗学的渊源及其嬗变。分析发现中国诗学在转型时期西方化,而西方诗学也在转型时期东方化或者说是中国化,然而西方诗学一个变化很小的范畴就是诗歌的外延。许渊冲显然只是观照了中国古典诗学范畴而较少考虑到西方诗学范畴及其嬗变,以至于他在翻译过程中把中国诗学范畴强加于西方诗学范畴,而这既不符合当代翻译主流思想,也不符合其自身提出的理论要求。于是本章得出结论许渊冲的诗歌翻译实践和其理论中“三之”的要求还存有一定的差距。最后是本文的结论部分,即,尽管许渊冲在翻译理论上倍受争议,然而其诗歌翻译理论的确有着很大的前瞻性和创新性,在翻译标准范畴上已经突破中国传统的译论“信”的范畴,即使与西方最先进的翻译理论比也仍不失其先进性。在翻译实践上,尽管许渊冲取得了海内外的声誉,然而他深受中国传统诗学影响而较少注意西方诗学流变,强行把韵加于诗歌翻译之中,这显然对于其“三之”的理论要求有着不小的矛盾。本文的创新之处就在于发现了许渊冲从“三美”转变到“创造三美”的基础,并在此基础之上证明了其转变基础的合理性,而许渊冲本人对于此并没有主义到这一点,同样许多许渊冲的批评者多数只是从“三美”的合理性程度上批评,而没有从从诗歌意义的多维性基础上进行批评。

论文目录

• Acknowledgements
• 摘要
• Abstract
• Introduction
• 0.1 Significance of Academic Research on Xu Yuanchong's Poetry Translation Theory and Practice
• 0.2 Rationale for Applying Lefevere's Manipulation Theory to Analyze Xu's Translation Theory and Practice
• 0.3 Aim of the Thesis
• 0.4 Some Clarifications
• Chapter One Literature Reviews on Lefevere's Manipulation Theory
• 1.1 Andre Lefevere and His academic career
• 1.2 A Survey of the Theoretic Background of Lefevere's Manipulation Theory
• 1.2.1 The"Two Shifts"
• 1.2.2 The Theoretical Background of"Two Shifts"that contributes to Manipulation Theory
• 1.2.2.1 The Influence of Literary Criticism on Lefevere
• 1.2.2.2 The Influence of System Theory on Lefevere
• 1.2.3 The"One Broadening"and its Influence on Lefevere
• 1.3 Main Manipulation Factors
• 1.3.1 Patronage
• 1.3.2 Poetics
• 1.3.3 Ideology
• 1.4 Inter-relationships between Patronage,Poetics and Ideology
• 1.4.1 Poetics VS Ideology
• 1.4.2 Poetics VS Patronage
• 1.4.3 Patronage VS Ideology
• 1.4.4 Poetics VS Ideology VS Patronage
• Chapter Two About Xu Yuanchong
• 2.1 Xu Yuanchong-as a Man
• 2.2 Xu Yuanchong-as a Translator
• Chapter Three Xu Yuanchong's Poetry Translation Theory
• 3.1 Xu's Theory in General-Art of Beautifulization and Creation of the Best as in Rivalry
• 3.2 A Thorough Discussion of Xu's Translation Theory-Ontology
• 3.2.1 Definition of Ontology
• 3.2.2 From"Beautiful in Three Aspects"to"Creation of Beauty"
• 3.2.2.1"Beautiful in Three Aspects"
• 3.2.2.1.1 Theoretical Origin
• 3.2.2.1.2 Contents of"Beautiful in Three Aspects"
• 3.2.2.2 "Creation of Beauty"
• 3.2.3 "Beautiful in Three Aspects"VS"Creation of Beauty"
• 3.3 A Thorough Discussion of Xu's Translation Theory-Methodology
• 3.3.1 Definition of Methodology
• 3.3.2 From"Three izas（化）"to"Make Full Use of the Good Expressions of the Target Language"
• 3.3.2.1 "Three izas（化）"
• 3.3.2.1.1 Theoretical Origin of"Three izas（化）"
• 3.3.2.1.2 The Content of"Three izas（化）"
• 3.3.2.2 "Make Full Use of the Good Expressions of the Target Language"
• 3.3.3"Three izas（化）"VS"Make Full Use of the Good Expressions of the Target Language"
• 3.4 A Thorough Discussion of Xu's Translation Theory-Teleology
• 3.4.1 Definition of Teleology
• 3.4.2 From"Three tions（之）"to"Translated literature"
• 3.4.2.1 "Three tions（之）"
• 3.4.2.1.1 Theoretical Origin
• 3.4.2.1.2 The Content of"Three tions（之）"
• 3.4.2.2 "Translated literature"
• 3.4.3 "Three tions（之）"VS"Translated literature"
• 3.5 A Thorough Discussion of Xu's Translation Theory-Epistemology
• 3.5.1 Definition of Epistemology
• 3.5.2 From"Three positions（势）"to"Rivalry between Cultures"
• 3.5.2.1 "Three positions（势）"
• 3.5.2.1.1 Theoretical Origin of"Three positions（势）"
• 3.5.2.1.2 The Content of"Three positions（势）"
• 3.5.2.2 "Rivalry between Cultures"
• 3.5.3 "Three positions（势）"VS"Rivalry between Cultures"
• 3.6 Summary
• Chapter Four A Survey of Xu's Translation Practice
• 4.1 Xu's Practice on"Beautiful in Sense"
• 4.1.1 Theoretical Background of"Beautiful in Sense"
• 4.1.2 Ways to Achieve"Beautiful in Sense"
• 4.1.2.1 Change of Names of proper Nouns
• 4.1.2.1.1 Change of Title of a Poem
• 4.1.2.1.2 Change of Name of a Person
• 4.1.2.1.3 Change of Name of a Place
• 4.1.2.1.4 Change of Names of other things
• 4.1.2.2 Change of Meanings of the Original Poem（s）
• 4.1.2.3 Use of elegant words
• 4.2 Xu's Practice on"Beautiful in Sound"
• 4.2.1 Theoretical Background of"Beautiful in Sound"
• 4.2.2 Ways to Achieve"Beautiful in Sound"
• 4.2.2.1 Alliteration
• 4.2.2.2 Internal Rhyme
• 4.2.2.3 End Rhyme
• 4.2.2.4 Rhyme by a New Line
• 4.2.2.5 Rhyme by adding a word or words
• 4.2.2.6 Rhyme by repeating a word or phrase
• 4.3 Xu's Practice on"Beautiful in Form"
• 4.3.1 Theoretical Background of"Beautiful in Form"
• 4.3.2 Ways to Achieve"Beautiful in Form"
• 4.3.2.1 Beautiful in Orderliness
• 4.3.2.2 Beautiful in Symmetry
• 4.3.2.3 Beautiful in Irregularity
• 4.4 Summary
• Chapter Five An Analysis of Xu's Translation Theory from the Perspective of Manipulation Theory
• 5.1 Patronage
• 5.2 Ideology
• 5.3 Poetics
• 5.4 Summary:Focus of problems:"Beautiful in Three Aspects"
• 5.5 Meaning or Meanings in Poetry:Chinese VS Western
• 5.5.1 Chinese Philosophy on Meaning
• 5.5.2 Western Philosophy on Meaning
• 5.6 Summary
• Chapter Six An Analysis of Xu's Translation Practice from the Perspective of Manipulation Theory
• 6.1 Patronage
• 6.2 Ideology
• 6.3 Poetics
• 6.4 Summary:Focus of problems:Poetics
• 6.5 Xu's Poetics
• 6.6 Chinese Denotation of Poetry VS Western Denotation of Poetry:
• 6.6.1 Classical Chinese Denotation of poetry
• 6.6.2 Classical Western Denotation of poetry
• 6.7 Chinese Poetics VS Western Poetics:Traditional Period
• 6.7.1 Traditional Chinese Poetics
• 6.7.1.1 Denotation of Poetry
• 6.7.1.2 Nature of Poetry
• 6.7.1.3 Ways of Expressing Feelings
• 6.7.2 Traditional Western Poetics
• 6.7.2.1 Denotation of Poetry
• 6.7.2.2 Nature of Poetry
• 6.7.2.3 Ways of Expressing Feelings
• 6.8 Chinese Poetics VS Western Poetics:Transitional Period
• 6.8.1 Transitional Chinese Poetics
• 6.8.2 Western Poetics
• 6.8.2.1 Romanticism
• 6.8.2.2 Imagism and beyond
• 6.9 Summary
• Chapter Seven Conclusion
• 7.1 A General Review of the Course of Analysis of This Thesis
• 7.2 On Lefevere's Manipulation Theory
• 7.2.1 Significance
• 7.2.2 Limitations
• 7.3 On Xu Yuanchong's Poetry Translation Theory
• 7.3.1 Significance
• 7.3.2 Limitations
• 7.4 On Xu Yuanchong's Poetry Translation Practice
• 7.4.1 Significance
• 7.4.2 Limitations
• 7.5 On Xu Yuanchong's Poetry Translation Theory VS Practice
• 7.6 Significance of the Findings of this Thesis
• Bibliography
• Appendix