试论中文诗歌意象与翻译

论文摘要

诗歌是心情酿的酒,是美丽而神奇的文字。对于诗歌,笔者心仪已久。从诗歌美学上说,诗歌的主要成分是意象。意象作为诗歌的基本构成部分,是诗歌的最小单位,可分为显意象与隐意象。诗歌的意象有其独特的魅力,深深地吸引着笔者。而成功的意象翻译能带来巨大的社会影响,我们决不能忽视意象的翻译。偶然的机会,笔者在一家美国网站看到一幅被认为是中国古典美女的照片:她前额的头发齐齐地修剪过。它让笔者自然而然地想到美国20世纪初著名的意象派诗人庞德的一篇译作的首句,李白的《长干行》:妾发初覆额。他的翻译就给美国人留下了深刻的印象,发式正如相片所示。成功的意象翻译对美国社会的影响由此可见一斑。他的译作是如此地成功以至于他打开了20世纪美国现代诗歌的大门,而且在不久的将来还会在美国新诗的创作中显出身影。庞德成功的意象翻译也给笔者留下了不可磨灭的印象,一篇优美的译文能积极地影响美国人对我们的认识。笔者创作这篇论文的初衷也正是源于对诗歌意象翻译的兴趣,正是这份兴趣指引着笔者完成这篇论文。笔者首先阐述了中西方文论家给意象下的定义,并对中国古典诗词中的意象概念加以详细阐述,同时解释了诗歌意象与文化的关系,再对如何理解意象加以阐发。意象在中国诗词中的美学地位显著,本文还阐明了意象与诗人创作风格的关系,进一步说明了意象在诗词中的重要性。随后,笔者对显意象作了分析,从我国诗歌评论家对显意象的定义和种类作了简要的罗列,从意象在人的感官上,即在视觉,听觉,嗅觉,味觉及触觉方面以及抽象事物对人产生的冲击进行分类,分析了诗人的意图与他使用显意象的方式。第三部分是隐意象的描述、定义,与诗人的使用隐意象的心理因素:社会风俗,政治因素和诗人主观因素。接下来笔者对隐意象与显意象作了细致的比较,总结出他们之间的异同点并详细地阐述了两者之间的密切的联系。最后是意象的翻译。笔者首先论证了翻译意象的可行性,还发现了意象翻译中的可能遇到的困难,以及具体的应对措施。意象是诗歌的主要成分,随着世界人民文化交流不断开展,不同文化间的沟通日益深化,不同文化背景下诗歌的意象也越来越容易被异域的读者所理解与欣赏,不同语言间诗歌的翻译从某种程度上来说是可以实现的。每个诗人骚客各具才情,译者惟有历尽艰辛,诗歌魅力才会熠熠生辉。

论文目录

• Acknowledgements
• 内容摘要
• Abstract
• Chapter One Introduction
• 1.1 Definition of Imagery
• 1.2 Imagery in Chinese Culture
• 1.2.1 The two different words
• 1.2.2 The imagery in the poet’s idea
• 1.2.3 Artistic conception
• 1.2.4 Artistic image
• 1.3 Understanding Imagery in Chinese Poetry
• 1.3.1 Imagery is the sentimental mixture with the natural imagery or other.
• 1.3.2 Imagery arrangement is quite special in Chinese classic Poem
• 1.3.3 Imagery style is the man himself'
• Chapter Two Literal Imagery in Chinese Poetry
• 2.1 Definition of Literal Imagery
• 2.2 Categories of Literal Imagery
• 2.2.1 Visual Imageries
• 2.2.2 Auditory Imageries
• 2.2.3 Olfactory Imageries
• 2.2.4 Tactile Imageries
• 2.2.5 Gustatory Imageries
• 2.2.6 Abstract Imageries
• 2.2.7 Syn-aesthetic Imageries
• 2.2.8 Metaphorical Imageries
• 2.2.8.1 Simile
• 2.2.8.2 Metaphor
• 2.2.8.3 Metonymy
• 2.2.9 Symbolic Imageries
• 2.3 Combinations of Imageries
• 2.3.1 Assemblage
• 2.3.2 Juxtaposition
• 2.3.3 Superposition
• 2.3.4 Fusion
• Chapter Three Reserved Imagery in Chinese Poetry
• 3.1 Definitions of Reserved Imagery
• 3.2 Causes of Reserved Imagery
• 3.2.1 Customs
• 3.2.2 Politics
• 3.2.3 Poet’s subjective factors
• 3.3 Poet’s Intent and his Way of Using Reserved Imagery
• 3.3.1 Satire
• 3.3.2 Metaphor
• 3.3.3 Concealing his real thought
• 3.3.4 Social effects
• Chapter Four Comparing Reserved Imagery with Literal
• 4.1 Similarities between Reserved Imagery and Literal Imagery
• 4.2 Differences between Reserved Imagery and Literal Imagery
• 4.3 Interrelation between Reserved Imagery and Literal Imagery
• Chapter Five Translation Imagery in Chinese Poetry
• 5.1 Translatability of Chinese Poetry
• 5.1.1 Definition of Imagery Translation
• 5.1.2 Language Universality
• 5.2 Difficulties in Translating Imagery in Chinese Poetry
• 5.2.1 Linguistic Differences
• 5.2.1.1 Absence of Inflections
• 5.2.1.2 Omission of subjects and Connective Particles
• 5.2.1.3 Flexibility in “Parts of Speech”
• 5.2.1.4 Fluent using of active Speech
• 5.2.2 Cultural Barriers
• 5.2.2.1 Historical and literary Allusions
• 5.2.2.2 Social Traditions and Customs
• 5.2.2.3 Natural Environment
• 5.3 Methods of Translating Literal Imagery in Chinese Poetry
• 5.3.1 Preservation
• 5.3.1.1 Preserving the Imagery without Annotation
• 5.3.1.2 Preserving the Imagery with Annotation
• 5.3.1.3 Deformation and Disembodiment
• 5.3.2 Partial Preservation
• 5.3.3 Changing the Imagery
• 5.3.4 Omission the Imagery
• 5.3.4.1 Omission
• 5.3.4.2 Generalization
• 5.3.5 Addition the Imagery
• 5.4 Methods of Translating reserved Imagery in Chinese Poetry
• 5.4.1 The same reserved imagery
• 5.4.2 Non –reserved imagery
• Chapter Six : Conclusion
• Bibliography