毛泽东诗词中意象的翻译

论文摘要

毛泽东诗词被视为当代中国文学的艺术瑰宝,同时也是世界文化的一颗璀璨明珠。毛泽东诗词继承了中国传统格律诗的特点,并在此基础上有所发展和创新。这些诗词产生于特殊的历史条件和社会环境,从一定的侧面展现了中国近代革命和社会主义建设初期的一些历史画面。到目前为止,诗词己被国内外的不同学者和翻译者译成多种语言多个版本,在世界很多国家广为流传。精心构筑意象,是毛泽东诗词的一大特色。毛泽东对于中国古典诗词当中的意象,既有继承,也有创新,从而形成了独具个性的意象系统。翻译中再现其神韵,意象的传递是关键也是难点。本文以诗歌意象理论,异化和归化理论为主要理论依据,以国内翻译家许渊冲先生有关诗歌翻译的“三美”原则,即意美、音美和形美比较标准,首先探讨了影响意象传译策略选择的几个重要因素,接着介绍了毛泽东诗词的研究现状及翻译情况,然后在对毛泽东诗词中的意象进行了详细分析后,作者总结出了毛泽东诗词中意象的四大特点:动态意象,并置意象,典故意象,和壮丽,博大意象。论文的主体部分采纳了国内外较有知名度的五个译者的英译本进行对比分析,以“三美”原则作为衡量标准,根据上文对毛诗中意象特点的分类,分析归纳出不同译本对分类意象所采取的归化或异化翻译策略,并进一步探讨了在这两大翻译策略的框架下译本采取的一些具体的翻译方法是否适用于毛诗中意象的翻译。最后作者总结出针对毛泽东诗词中意象的翻译,归化和异化具有其各自的价值,以上归纳出的一些具体的翻译方法在一定程度上也是有效的,但为了实现文化交流的目的以及保留读者的想象空间,译者应尽量以源语为导向,采取以异化翻译为主,归化翻译为辅的翻译策略。总而言之,译者应该尽可能的传达毛诗中意象的表层形式和深层次的文化内涵,使译文读者更好地了解中国人民在特定历史时期的思想感情和生活内容,并充分信任读者,随着国际文化交流的日益频繁,已经有一定的能力接受带有外来文化印记的各种文化意象,因此不同语言间的诗歌翻译从某种角度是可以实现的。

论文目录

• 摘要
• Abstract
• Chapter One Introduction
• 1.1 Research Background
• 1.2 Research Objective
• 1.3 The Scope of the Thesis
• Chapter Two Literature Review
• 2.1 The Theory of Image
• 2.1.1 Definition of Image
• 2.1.2 The Different Interpretations of Image in Chinese and English Literature
• 2.1.3 Basic Theories of Poetic Images
• 2.2 The Principle of “Three Beauties”
• 2.2.1 Notion of the Principle of “Three Beauties”
• 2.2.2 Relationship Among “Three Beauties”
• 2.2.3 Xu Yuanchong’s Poetry Translation Theory
• 2.2.4 “Three Beauties”Principle for Poetry Translation
• 2.3 An Introduction to Foreignization and Domestication
• 2.3.1 The Origin and Definition of Foreignization and Domestication
• 2.3.2 Venuti’s Advocacy of Foreignization Translation
• 2.3.3 Nida’s Advocacy of Domestication Translation
• Chapter Three Decisive Factors in Applying Domestication and Foreignization
• 3.1 The Type and the Nature of the Source Text
• 3.2 Translators’Objective Conditions
• 3.3 Translators’Subjective Conditions
• Chapter Four Introduction of Mao Zedong’s Poems
• 4.1 The Translations of Mao Zedong’s Poems
• 4.1.1 The Status of Mao Zedong’s Poems in Modern Literature
• 4.1.2 An Introduction to the Translations of Mao Zedong’s Poems
• 4.2 Image in Mao’s Poems
• 4.2.1 Dynamic Images
• 4.2.2 Juxtaposed Images
• 4.2.3 Allusion Images
• 4.2.4 Grand and Imposing Images
• 4.3 The Functions of Image in Mao’s Poems
• 4.3.1 Contributing to His Imposing and Unconstrained Style
• 4.3.2 Expressing Suggestive Ideas
• 4.3.3 Appealing to Readers’Emotion
• Chapter Five Comparative Study on the Transference of Images in Five English Versions of Mao’s Poems
• 5.1 An Introduction to the Five Versions Compared in the Thesis
• 5.2 Reproduction of Images in Mao’s Poems
• 5.2.1 Reproduction of Dynamic Images
• 5.2.2 Reproduction of Juxtaposed Images
• 5.2.3 Reproduction of Allusion Images
• 5.2.4 Reproduction of Grand and Imposing Images
• 5.3 Two General Strategies in Transference of Images in Mao’s Poems
• 5.3.1 Domestication
• 5.3.1.1 Replacing the Original Image With a Ready TL Image
• 5.3.1.2 Deleting the Original Image While Keeping the Connotations
• 5.3.2 Foreignization
• 5.3.2.1 Preserving the Original Image by Literal Translation
• 5.3.2.2 Preserving the Original Image with Annotation
• 5.3.3 Precedence of Foreignization over Domestication
• Chapter Six Conclusion
• Acknowledgements
• Notes
• Bibliography
• 研究成果