唐诗的色彩意象及英译研究

论文摘要

唐诗是中国传统文化宝库中的璀璨明珠。它不仅在中国文化史上具有重要的意义,也在世界文坛上占有显著的地位。唐代诗人借助色彩为我们描绘了许多美丽的画卷。纷繁的色彩表现了诗人丰富的内心世界,再现了唐代的社会生活。色彩意象的艺术表现力和感染力在唐诗中达到了顶峰。尽管翻译界对唐诗翻译有一定的成果,但到目前为止,鲜有人对唐诗中的色彩意象及其英译作以研究。唐诗本身就是美的载体,因此对于译者来说翻译唐诗中最困难的任务就是保持唐诗原有的美感。传统的翻译美学理论发展由来已久,在翻译学立学之前,翻译就已经与美学紧密相连。剖析其组成成分可以很清楚地看到,这是一个关于审美客体、审美主体和审美再现过程的理论。在诗歌翻译中,译者是原诗的审美主体,通过对原诗美学特征的挖掘和整体艺术把握,用另外一种语言再现和创造出原诗的审美品质。译者的审美素养、审美观念和审美能力决定了译文的艺术质量。本文以翻译美学理论为框架,选取唐代诗歌中的色彩意象英译为研究对象,将诗歌的翻译者定位为审美主体,对审美层面的诗歌翻译进行探索。本文将唐诗中的色彩意象分为显性色彩意象和隐性色彩意象,并且通过对比许渊冲英译唐诗和其他译者的译诗,来展示他在翻译过程中为了再现原诗的美而采取的不同的翻译方法。本文认为许译唐诗色彩意象得之于灵活变通的翻译手法和较高的文化素养。

论文目录

• CONTENTS
• 摘要
• ABSTRACT
• Chapter One INTRODUCTION
• 1.1 Research Background
• 1.2 Research Methodology
• 1.2.1 Definition of translation aesthetics
• 1.2.2 Aesthetic object in translation
• 1.2.3 Aesthetic subject in translation
• 1.3 Research Material
• 1.4 Thesis Structure
• Chapter Two LITERATURE REVIEW
• 2.1 An Overview on Translation Aesthetics
• 2.1.1 Theories of western translation aesthetics
• 2.1.2 Theories of Chinese translation aesthetics
• 2.2 An overview on Tang Poetry Translation
• 2.2.1 Research on Xu's translation theories
• 2.2.2 Research on color image translation in Tang poetry
• 2.2.3 Summary
• 2.3 Criteria of Poetry Translation and Stress on Image
• 2.3.1 A brief review of poetry translation criteria
• 2.3.2 Main schools of poetry translation
• 2.3.3 Stress on image by different schools
• Chapter Three COLOR IMAGES IN TANG POETRY
• 3.1 Significance of Color Images in Tang Poetry
• 3.2 Classification of Color Images in Tang Poetry
• 3.2.1 Color images with explicit hue
• 3.2.2 Color images with inexplicit hue
• Chapter Four TRANSLATION OF COLOR IMAGES IN TANG POETRY: A CASEWITH XU YUANCHONG'S TRANSLATION
• 4.1 Translation of Color Images in Tang Poetry
• 4.1.1 Color images shared both in English and Chinese
• 4.1.2 Specific color images in Chinese and English
• 4.2 An Aesthetic View on Xu's Translation of Color Images
• 4.2.1 Xu's achievements in translation of color images
• 4.2.2 Xu's limitations in the translation of color images
• Chapter Five CONCLUSION
• References
• Acknowledgements