本文選題：《華夏集》 + 改寫��； 參考：《湖南師范大學(xué)》2007年碩士論文

【摘要】： 艾茲拉·龐德是美國現(xiàn)代文學(xué)史上杰出的詩人，同時(shí)也是一位出色的翻譯家。他從東方學(xué)家費(fèi)諾羅薩的遺稿中選譯了19首中國古詩，，并于1915年以《華夏集》命名結(jié)集出版。自其發(fā)行以來，《華夏集》一直是一部褒貶不一、倍受爭議的作品。本文試從翻譯改寫理論的視角，采用描述性研究方法，對這部譯作進(jìn)行重新審視和評價(jià)。 改寫理論由比利時(shí)學(xué)者安德烈·勒菲弗爾提出。該理論認(rèn)為，翻譯是所有對原文本進(jìn)行加工的改寫形式中最顯著的一種。某一特定時(shí)期和社會(huì)的意識形態(tài)與詩學(xué)決定和操縱著各種改寫；反過來，任何改寫也都反映和服務(wù)于某一意識形態(tài)或詩學(xué)。改寫，尤其是翻譯，在對立意識形態(tài)或詩學(xué)的斗爭中發(fā)揮著重要作用。 通過對《華夏集》產(chǎn)生的時(shí)代及文學(xué)背景進(jìn)行考察，和對中國古詩原文、部分費(fèi)氏筆記及《華夏集》英譯文進(jìn)行描述性對比細(xì)讀，本文指出《華夏集》是一部由龐德所處時(shí)代的意識形態(tài)及詩學(xué)共同促成的改寫作品。就意識形態(tài)而言，當(dāng)時(shí)第一次世界大戰(zhàn)的嚴(yán)峻形勢對龐德翻譯的選材產(chǎn)生了直接影響。龐德從費(fèi)諾羅薩遺稿中挑出19首中國古詩譯成《華夏集》，并非隨意而為，而是精心選擇用以突出戰(zhàn)亂、離別、羈旅、懷舊、幻滅等戰(zhàn)爭題材；而在翻譯過程中，龐德也往往不惜背離原文意義和費(fèi)氏的注釋，著力渲染戰(zhàn)時(shí)人們的心理和情感。就詩學(xué)而言，19世紀(jì)末20世紀(jì)初英美詩壇占統(tǒng)治地位的后期維多利亞詩學(xué)開始衰退，以龐德為首的英美詩人發(fā)動(dòng)了意象主義、漩渦主義等一系列詩學(xué)革新運(yùn)動(dòng)，提倡使用恰切的意象和漩渦，通俗簡潔的語言，及富于音樂性的節(jié)奏來呈現(xiàn)事物和表達(dá)情感。中國古詩的諸多特征與新詩學(xué)的要求剛好不謀而合，于是龐德通過翻譯《華夏集》展示這種新詩學(xué)，借以推動(dòng)新詩學(xué)的發(fā)展；在翻譯過程中，龐德也往往根據(jù)其詩學(xué)主張對原文本進(jìn)行一定程度的操控，如凸顯意象、采掘漩渦、重情感暗示、使用當(dāng)代語言及靈活節(jié)奏等。 無論是對費(fèi)氏筆記的挑選及編纂過程，還是對中國古詩的翻譯過程，《華夏集》的產(chǎn)生都折射出來自龐德所處時(shí)代的意識形態(tài)和詩學(xué)的影響。將《華夏集》視為意識形態(tài)和詩學(xué)操控下的改寫這一結(jié)論，有助于我們對這部毀譽(yù)參半的作品做出更客觀、更科學(xué)的評價(jià)，也為我們更好地理解龐德及其翻譯提供了一些啟示。
[Abstract]:Ezra pound is an outstanding poet and translator in the history of modern American literature. He selected and translated 19 ancient Chinese poems from the manuscripts of Finolosa, an oriental scholar, and published them in 1915 under the name of Huaxia. Since its release, China Collection has been a controversial and controversial work. From the perspective of translation rewriting theory, this paper attempts to re-examine and evaluate the translation from a descriptive approach. Rewriting theory was put forward by Andrea Lefevere, a Belgian scholar. According to this theory, translation is one of the most significant forms of rewriting of the original text. Ideology and poetics of a certain period and society decide and manipulate various rewriting; in turn, any rewriting also reflects and serves a certain ideology or poetics. Rewriting, especially translation, plays an important role in the struggle against ideology or poetics. Through the investigation of the time and the literary background of the production of the anthology of China, and the descriptive and detailed reading of the original text of the Chinese ancient poetry, some of Fei's notes and the English translation of the Chinese Collection of China, This paper points out that the anthology of China is a rewritten work which was jointly promoted by the ideology and poetics of pound's time. As far as ideology is concerned, the grim situation of World War I had a direct impact on pound's translation selection. Pound chose 19 ancient Chinese poems from Finolosa's manuscripts to be translated into Chinese anthology, which were not random but carefully selected to highlight war themes such as war, departure, detours, nostalgia, disillusionment, and so on; and in the process of translation, Pound also often deviates from the original meaning and Fay's comments, focusing on the wartime people's psychology and feelings. As far as poetics is concerned, Victorian poetics began to decline in the late 19th century and the early 20th century, when Victorian poetics began to decline. The Anglo-American poets led by pound launched a series of poetic innovation movements, such as imagism, whirlpool doctrine and so on. Promote the use of appropriate images and whirlpools, simple and popular language, and musical rhythm to present things and express emotions. Many features of ancient Chinese poetry coincide with the requirements of the new poetics, so pound demonstrates the new poetics through the translation of the Chinese anthology in order to promote the development of the new poetics. Pound also tends to manipulate the original text to a certain extent according to his poetics, such as highlighting images, mining whirlpools, emphasizing emotional cues, using contemporary language and flexible rhythm, and so on. Whether in the process of selecting and compiling Fei's notes, or in the process of translating ancient Chinese poetry, the production of Huaxia set reflects the influence of ideology and poetics from pound's time. The conclusion that the anthology of China is rewritten under the control of ideology and poetics will help us to make a more objective and scientific evaluation of this work with a mixed reputation and provide us with some enlightenment for a better understanding of pound and his translation.
【學(xué)位授予單位】：湖南師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2007
【分類號】：I046;H315.9

【引證文獻(xiàn)】

相關(guān)碩士學(xué)位論文 前2條

1 王玉;翻譯中的詩學(xué)[D];河北師范大學(xué);2009年

2 李攀科;龐德《華夏集》翻譯與經(jīng)典化研究[D];四川外語學(xué)院;2012年

本文編號：1959494