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  本文選題：龐德 + 《神州集》　； 參考：《陜西師范大學》2006年碩士論文

【摘要】：龐德譯作《神州集》曾經(jīng)招致一味指責，也贏得了極度贊譽。然而，美國歷史證實其獨特的價值性，不僅具有傳奇異域色彩，而且符合廣大英美讀者的口碑。該詩集應(yīng)融入特定歷史時期進行解讀，視為具備實體性的中國古典詩歌改寫文本。論文采取描寫翻譯學的研究視角，以勒弗菲爾改寫理論為基石，結(jié)合圖里、佐哈爾翻譯理論，客觀地評價解讀龐氏詩集，多維度地描述了詩集中的創(chuàng)造性改寫，并從內(nèi)、外入手，深入分析了促成詩集創(chuàng)造性改寫的深層原因。 第一章簡要介紹了研究背景和本文的整體框架結(jié)構(gòu)。第二章對描寫理論進行了系統(tǒng)闡釋。翻譯文學是不同于原語外國文學的一種創(chuàng)作，往往以改寫文本的形式出現(xiàn)。從內(nèi)因來講，譯者有自身的文學傾向、寫作風格、翻譯目的、翻譯觀念，譯本不可避免地蘊含譯者獨特的創(chuàng)造性，而不是原文簡單的復制品。從外因來講，譯本與目的語社會諸多客觀要求是保持一致的。佐哈爾多元系統(tǒng)理論認為翻譯文學在文學多元系統(tǒng)中所處的位置決定了譯本創(chuàng)新性或保守性。圖里以目的語為導向研究，具體提出了“翻譯范式”支配制約譯本：“首要范式”；“初步范式”；“操作范式”。勒弗菲爾繼承發(fā)展了佐哈爾、圖里系統(tǒng)理論，直接提出翻譯是對原語文本的改寫，反映一定的意識形態(tài)和一定的詩學；翻譯的歷史也是文學革新的歷史。 第三章和第四章是本文的核心部分。第三章從內(nèi)容和形式兩大板塊具體解讀龐氏《神州集》的創(chuàng)造改寫模式。從內(nèi)容上講，，詩集呈現(xiàn)出自身特定的鮮明的主題；中國古典詩歌中的異域風味(地名、人名、典故)在詩集中有所丟失，但詩歌內(nèi)在心境、情感氛圍卻得以重奏、強化；另外，詩集中意象雖與原詩也有一定的偏差，但意境的重構(gòu)、渦旋的采掘使得譯詩放射出最大的心靈能量。從形式上講，詩集呈現(xiàn)出一副新面孔：語言口語化、圖式信息化、節(jié)奏自由、靈活。值得注意的是詩集的新面孔在一定的程度上更加有利于詩歌內(nèi)在情感的爆發(fā)�？偟膩碚f，詩集中有著明顯的模仿、增刪、保留，而正是這種“叛逆性”的、“創(chuàng)造性”的改寫，詩集具備自身獨特的文學實體性，在目的語文學系統(tǒng)表現(xiàn)出特有的價值。 第四章著重分析支配制約龐氏《神州集》創(chuàng)造性改寫的內(nèi)外因素。龐氏時代的意識形態(tài)和詩學在一定程度上制約著譯者對中國古典詩歌的改寫。詩集中鮮明的主題正表達了當時戰(zhàn)爭年代人類的諸多痛苦和折磨；中國詩歌“觸物以起情”、“敘物以言情”的表達方式也正彌合英美反叛抽象、概念化的哲學文化趨勢；另
[Abstract]:Pound's translation of "the Divine Land" has attracted criticism, but also won extreme praise. However, American history has proved its unique value, not only with legendary exotic color, but also in line with the public praise of British and American readers. The collection of poems should be interpreted in a specific historical period and regarded as a rewritten text of Chinese classical poetry with entity. From the perspective of descriptive translation, the thesis takes Lefel's rewriting theory as the foundation stone, combines Toury and Zohar's translation theory, evaluates and interprets Ponzi's poetry collection objectively, describes the creative rewriting in it in many dimensions, and describes it from within. The author analyzes the deep reasons for the creative rewriting of poetry. The first chapter briefly introduces the research background and the whole frame structure of this paper. The second chapter systematically explains the description theory. Translation literature is a kind of creation which is different from the foreign literature of the original language and often appears in the form of rewriting the text. In terms of internal causes, translators have their own literary tendencies, writing style, translation purposes, translation concepts, and translation ideas. The translation inevitably contains the translator's unique creativity rather than the simple replica of the original text. In terms of external causes, the translation is consistent with many objective requirements of the target language society. Zorhar's theory of multiple systems holds that the position of translation literature in literary pluralism determines the originality or conservatism of the translation. Touri takes the target language as the direction of the study, and puts forward the "translation paradigm" to govern the translation: "primary paradigm", "preliminary paradigm" and "operational paradigm". Leverfield inherits the system theory of Zohar and Toury and puts forward directly that translation is a rewriting of the original text reflecting a certain ideology and a certain poetics and that the history of translation is also the history of literary innovation. The third and fourth chapters are the core of this paper. Chapter three explains the creation and rewriting mode of Ponzi's Shenzhouji from two parts: content and form. In terms of content, the collection of poems presents its own distinctive theme; the exotic flavor (place names, names of people, allusions) in Chinese classical poetry is lost in the collection, but the inner mood of the poetry, the emotional atmosphere can be re-played and strengthened; in addition, Although there are some deviations between the images and the original poems, the reconstruction of artistic conception and the extraction of vortex make the translated poems emit the greatest spiritual energy. In form, the anthology presents a new face: colloquial language, schematic information, free rhythm and flexibility. It is worth noting that the new faces of poetry to a certain extent are more conducive to the outbreak of the inner emotion of poetry. In general, there are obvious imitations, additions, deletions and reservations in the anthology of poetry, and it is this kind of "rebellious", "creative" rewriting. The anthology has its own unique literary entity and shows its unique value in the system of target language and literature. Chapter four focuses on the internal and external factors which restrict Ponzi's creative rewriting. The ideology and poetics of Ponzi era restrict the translator's rewriting of Chinese classical poetry to some extent. The distinct themes in the anthology are the expression of many suffering and torment of mankind during the war period; the expression of Chinese poetry "touching things with emotion" and "describing things with expressing feelings" is also bridging the philosophical and cultural trend of British and American rebellion against abstraction and conceptualization;
【學位授予單位】：陜西師范大學
【學位級別】：碩士
【學位授予年份】：2006
【分類號】：I046;H059

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本文編號：2062550