中国古典诗词中模糊美英译的研究 ——从接受美学的角度出发

论文摘要

中国古典诗词享有“诗中有画”之誉,在于其语言含蓄隽永,意象含义丰富,从而可以带给读者广阔的遐想空间。其语言和意象具有高度的模糊性,而在阅读的过程中这种模糊性通过读者的审美体验而产生了模糊美。论文以中国古典诗词模糊美为研究对象,旨在以接受美学为理论指导,探讨中国古典诗词中模糊美的翻译原则和方法,并通过实例分析加以验证。论文首先从传统文论中的“隐”和“含蓄”谈起,借鉴前人成果,指出中国古典诗词的模糊美在于其旨重意复的多意美和言有尽而意无穷的含蓄美,并通过分析中国古典诗词模糊美的三个特点指出意境是模糊美的集中体现。在此基础上,文章进一步提出模糊美不仅体现在多意、含蓄本身,还体现在其产生的过程。从古诗的意象切入,并以之为线索,通过意与象的结合方式论述了意象的模糊化功能和过程,从而理清了中国古诗模糊美产生的过程,文章还研究了数字意象和文化意象的模糊化功能,以及诗歌意象因缺省人称、时间、地点而形成的模糊美。然后,文章指出接受美学理论和中国古典诗词模糊美之间的相似之处:两者都强调空白和未定之处及读者的主体作用。接下来,根据研究目的,论文通过对接受美学对中国古典诗词模糊美英译的启示的详细分析,提出了中国古典诗词模糊美的英译应该遵循审美对等的原则这一观点。文章以动态的审美对等为标准,提出借助意象来传递模糊美的“意象法”,探讨了意象在传达模糊美中的作用,以及通过意象传达模糊美的过程。文章最后以审美对等为原则对三首中国古典诗词的不同英文译文进行对比分析,并通过“意象法”进行了传递模糊美的翻译尝试,从实践上证明审美对等原则和“意象法”的可行性和良好效果。论文从一个新的视角:接受美学来研究中国古典诗词中的模糊美,提出了英译中国古典诗词模糊美应遵循审美对等原则和应采用“意象法”,并通过对具体中国古典诗词不同英译本的对比分析验证了这一原则和方法对模糊美的英译具有理论和实践的指导意义。故中国古典诗词中模糊美的英译应该遵循审美对等的原则和采用通过意象来传递原诗模糊美的“意象法”。

论文目录

• 中文摘要
• ABSTRACT
• CHAPTER 1 INTRODUCTION
• 1.1 RESEARCH BACKGROUND AND SIGNIFICANCE
• 1.2 PURPOSE OF THE STUDY
• 1.3 STRUCTURE OF THE DISSERTATION
• CHAPTER 2 LITERATURE REVIEW
• 2.1 THE TRANSLATION OF CLASSICAL CHINESE POETRY
• 2.2 FUZZY BEAUTY IN CLASSICAL CHINESE POETRY AND ITS TRANSLATION
• 2.2.1 Definition of Fuzzy Beauty in Classical Chinese Poetry
• 2.2.1.1 Latent
• 2.2.1.2 Reserve
• 2.2.2 Characteristics of Fuzzy Beauty in Classical Chinese Poetry
• 2.2.2.1 Uncertainty
• 2.2.2.2 Totality
• 2.2.2.3 Inter-permeability
• 2.2.3 The Creating Process of Fuzzy Beauty
• 2.2.3.1 Fuzzy Beauty in Combination of Vehicle and Tenor
• 2.2.3.2 Fuzzy Beauty in Image with Numerals
• 2.2.3.3 Fuzzy Beauty in Image without Person, Time and Place
• 2.2.4 Translation Studies of Fuzzy Beauty in China
• 2.3 MAIN THOUGHTS OF RECEPTION AESTHETICS
• 2.3.1 Jauss: Horizons of Expectation and Aesthetic Distance
• 2.3.2 Iser: Realization of a Literary Text and Implied Reader
• 2.3.3 Summary of Reception Aesthetics
• 2.4 THE CORRELATION BETWEEN RECEPTION AESTHETICS AND FUZZY BEAUTY
• 2.4.1 “Gap”Structure and Fuzzy Beauty
• 2.4.2 The Reader’s Active Role in the Realization of Meaning
• CHAPTER 3 PRINCIPLE FOR TRANSLATING FUZZY BEAUTY IN THE LIGHT OF RECEPTION AESTHETICS
• 3.1 THE ENLIGHTENMENT OF RECEPTION AESTHETICS TO THE ENGLISH TRANSLATION OF FUZZY BEAUTY
• 3.1.1 Preserving Enough Imagination Room for English Readers
• 3.1.2 Keeping an Appropriate Aesthetic Distance for English Readers
• 3.1.3 Adopting Empathy
• 3.2 PRINCIPLE FOR TRANSLATING FUZZY BEAUTY: AESTHETIC EQUIVALENCE
• CHAPTER 4 TRANSFERRING FUZZY BEAUTY THROUGH IMAGE
• 4.1 IMAGE AS MEDIUM OF TRANSFERRING FUZZY BEAUTY
• 4.1.1 Image as Unit of Transferring Fuzzy Beauty
• 4.1.2 Image Transference and Aesthetic Equivalence
• 4.2 PROCESS OF TRANSFERRING FUZZY BEAUTY
• 4.2.1 From Artistic Conception to Image Components
• 4.2.2 From Image Components to Artistic Conception
• CHAPTER 5 APPLICATION OF AESTHETIC EQUIVALENCE AND IMAGE METHOD TO THE TRANSLATION OF CLASSICAL CHINESE POETRY
• 5.1 TRANSFERRING FUZZY BEAUTY IN SEEKING SHELTER IN LOTUS HILL ON A SNOWY NIGHT
• 5.2 TRANSFERRING FUZZY BEAUTY IN A MERCHANT’S WIFE
• 5.3 TRANSFERRING FUZZY BEAUTY IN AUTUMN THOUGHTS
• CHAPTER 6 CONCLUSION
• 6.1 MAJOR FINDINGS
• 6.2 LIMITATIONS AND SUGGESTION FOR FURTHER STUDY
• ACKNOWLEDGEMENTS
• REFERENCES
• APPENDIX