论文摘要
古典诗词是中国文学的最重大的成就之一,也是世界文学宝库里一颗璀璨的明珠。而意境在中国古典诗学中是重要而独特的概念,一直被视为中国古典诗词的灵魂,是中国古典诗词美的载体。因此,从很大程度上来说,中国古典诗词的翻译问题就是如何转换其意境的问题。尽管中外许多学者和翻译家对此作了大量的实践和理论工作,翻译了许多好的作品并提出了许多宝贵的见解,然而由于意境内涵本身的复杂性,古典诗词翻译中的意境翻译问题是一个很重要但相当难以探索的领域,多数关于意境翻译的讨论都是经验之谈,很不充分,缺乏必要的理论指导。在现阶段,几乎每一个讨论古典诗词翻译的人都会谈到意境,但对于意境究竟是什么,还缺乏一个明确统一的认识。因此,目前对意境翻译问题的讨论呈现一种仁者见仁,智者见智的局面。通过对中外意境概念的初步然而系统的探讨,本文指出意境是情景交融的艺术形象和它所引发的想象的形象的总和。意境创造的实质并不仅仅在于情景交融,更在于创造“象外之象”,即境界,能够把读者带入一个广阔的遐想空间。因此,意境实际上是由作者和读者共同完成的。读者的主体性在意境创造过程中得到了充分体现。美学是评价文学及其翻译价值的重要方法。没有美,诗歌也就不复存在。中国古典诗词翻译从这个角度来看,就是如何在翻译过程中尽量保持其意境美。模糊美学认为开放性和不确定性,即模糊性是所有文学文本的本质特征。模糊性在中国古典诗歌意境中体现的尤为突出,这种模糊性表达方式集中体现了模糊美。本文探讨了中国古典诗歌英译的美学要求,以模糊美学为理论基础提出了古诗歌翻译的美学原则,即传递原诗模糊美。在此原则指导下,通过对比古典诗歌英译的不同译本,试图从意境的三个美学构成要素即意象,情,境,对原诗意境进行再创造,探讨如何在译文中传递原诗意境的模糊美。在对大量古诗词译诗进行比较鉴别的基础上,本文分别讨论归纳了原诗意境的三个基本美学要素在译诗中再现的有效转换技巧和方法。在此过程中,对译者的主体表现也进一步提出了意见和要求,特别是强调译者在努力再现原诗意境的同时,还应考虑译文读者在理解与欣赏译诗意境中的主体创造作用。具体对一整首诗的意境移植来说,本文也强调指出原诗意境的三个基本美学要素的再现均要以其整体审美意象的和谐转换为准。本项研究不仅明确提出了意境翻译过程中应把握的基本美学要素,而且研究分析了意境转换过程中的有效方法和技巧,具有较强的可操作性。希望本研究能为中国古典诗歌英译提供崭新的美学再创造空间。
论文目录
摘要AbstractChapter 1 IntroductionChapter 2 Imagery in Classical Chinese Poetry2.1 The Western and Chinese Views on Imagery2.1.1 Imagery in Western Critical Tradition2.1.2 Imagery in Chinese Literary Theories2.2 The Definition and Connotations of Imagery2.3 Classification of Imagery2.4 Artistic Features of Imagery2.4.1 Subjectivity both of the Poet and the Reader2.4.2 Fusion of Emotions with Scenes2.4.3 Mutual Creation of the Actual and the Imaginary2.5 The Aesthetic Components of Imagery2.5.1 Image2.5.2 Emotion2.5.3 RealmChapter 3 Theoretical Basis of Imagery Translation in Classical Chinese Poetry3.1 Literary Review of Imagery Translation3.1.1 Difficulties of Imagery Translation in Classical Chinese Poetry3.1.2 Translation Schools of Classical Chinese Poetry and Stress on Imagery3.1.3 The Essence of Classical Chinese Poetry Translation3.2 Fuzzy Aesthetics and Its Influence on Literary Translation Studies3.2.1 The Origin of Fuzzy Aesthetics3.2.1.1 Fuzziness and Fuzziology3.2.1.2 Fuzzy Logic and Fuzzy Sets3.2.1.3 Fuzziology and Linguistics3.2.2 The Establishment of Fuzzy Aesthetics3.2.2.1 Fuzzy Psychological Mechanism of Fuzzy Aesthetics3.2.2.2 Fuzzy Aesthetics3.2.3 The Influence of Fuzz Aesthetics on Literary Translation Studies3.3 Fuzzy Beauty and Its Application in Translation of Imagery in Classical Chinese Poetry3.3.1 Definition3.3.2 Characteristics of Fuzzy Beauty3.3.2.1 Uncertainty of Fuzzy Beauty3.3.2.2.Totality of Fuzzy Beauty3.3.2.3 Inter-permeability of Fuzzy Beauty3.4 The Manifestations and Essence of Fuzzy Beauty in Imagery of Classical Chinese Poetry3.4.1 The Manifestations of Fuzzy Beauty in Imagery of Classical Chinese Poetry3.4.1.1 The Manifestations of Fuzzy Beauty in Image3.4.1.2 The Manifestations of Fuzzy Beauty in Emotion3.4.1.3 The Manifestations of Fuzzy Beauty in Realm3.4.2 Essence of Fuzzy BeautyChapter 4 Translation of Fuzzy Beauty of Imagery in Classical Chinese Poetry4.1 The Principle of Transferring Fuzzy Beauty4.2 Translating Fuzzy Beauty from Different Aspects4.2.1 Translating Fuzzy Beauty in Image4.2.2 Translating Fuzzy Beauty in Emotion4.2.3 Translating Fuzzy Beauty in Realm4.3 Translator’s Subjective Role in the Translation of Fuzzy Beauty4.4 Reader’s Subjective Role in the Translation of Fuzzy BeautyChapter 5 ConclusionAcknowledgementsBibliography研究成果
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标签：中国古典诗歌论文; 意境论文; 模糊美论文; 模糊美学论文;
