【摘要】： 翻譯的跨學科性已經(jīng)成為譯界普遍接受的趨勢。心理學、社會學、人類學、語言學等學科不斷被納入翻譯研究的學術(shù)范圍。美學，作為翻譯學最新的聯(lián)姻對象，正受到越來越多的學者與翻譯研究工作者的關(guān)注。綜觀中外翻譯研究歷史，翻譯與美學之間都有著深遠的淵源，隨著對翻譯藝術(shù)性的越來越高的要求，美學必然要以其成熟的理論依據(jù)及評判標準成為翻譯尤其是文學翻譯研究不可或缺的理論及實踐支持。 詩歌翻譯可謂文學翻譯的珠穆朗瑪，令無數(shù)譯者望而卻步。其高度精練而內(nèi)蘊豐富的語言，嚴謹而又優(yōu)美的韻律，極富想象力的修辭手法，對譯者的文字功底，文化積累以及文學藝術(shù)的敏感的鑒賞能力都是極大的考驗，任何譯者在面對詩歌翻譯時似乎都顯得力不從心。于是出現(xiàn)了詩歌不可譯的說法，認為詩歌一經(jīng)翻譯必失其本貌，尤其是中國古代詩歌。盡管如此，從上世紀初至今，無數(shù)中外翻譯家和詩人仍努力嘗試漢詩英譯，隨之也產(chǎn)生了一系列相關(guān)爭論，焦點無外乎形與神，散體與韻體，以及歸化與異化的孰輕孰重。這種執(zhí)著于翻譯技巧的僵化標準以及二選一的思維定式把詩歌翻譯帶入一個死胡同，難于有大的突破。引入美學理論后，翻譯不再是技術(shù)性的轉(zhuǎn)化，而成為藝術(shù)性的創(chuàng)作。在中國，詩歌與書法，繪畫是同根同源的藝術(shù)類型，有極高的美學價值：包括詩本身的詞義，音韻，節(jié)奏以及深遠的意境，更重要的是其無處不體現(xiàn)著中國傳統(tǒng)美學的價值觀，平衡的，自然的，隱晦而模糊的美。這些都是古詩詞作為藝術(shù)品所不能磨滅的美學價值。因此，譯者當從審美角度重新審視詩歌翻譯，把詩歌翻譯當作美的藝術(shù)再現(xiàn)。 本文旨在打破長期以來詩歌翻譯的僵化模式，運用翻譯美學理論把詩歌翻譯提升到藝術(shù)創(chuàng)作層面，從而為之提供新的思路和方法。在傳統(tǒng)的動態(tài)對等與功能對等理論基礎(chǔ)上提出美學對等理論，并在實際應(yīng)用中以詩歌的異國美取代文化空缺所帶來的遺憾，從而解放詩歌翻譯的語言文化束縛。如此，異化不僅不會妨礙交流，反而會在保留我們民族文化特點的同時引起外國讀者的興趣。 把翻譯美學應(yīng)用于詩歌翻譯，我們的古典詩歌才得以延續(xù)其藝術(shù)生命，，我們的詩文化才得以發(fā)揚。 本文并未提出具體的美學標準，因為詩歌的目的和作用之一就是激發(fā)讀者的不同想象和反應(yīng)。所以詩歌翻譯提升到藝術(shù)水平以后，也不能被統(tǒng)一標準所限制，而應(yīng)提倡百花齊放的學術(shù)氛圍，為詩歌翻譯提供自由發(fā)展的空間和環(huán)境。 在二十一世紀的今天，經(jīng)濟全球化帶動了文化全球化。隨著中西文化交流的日益深入，西方讀者對中國文化有了更多的了解，尤其是2008年中國將舉辦奧運會，更促使中國文化走向世界。我們的翻譯工作者應(yīng)抓住機遇，復興并發(fā)揚中國傳統(tǒng)文化。正如許淵沖教授所說：“中國文學翻譯工作者對世界文化應(yīng)盡的責任，就是把一部分外國文化的血液，灌輸?shù)街袊幕衼�，同時把一部分中國文化的血液灌輸?shù)绞澜缥幕腥ィ故澜缥幕絹碓截S富，越來越光輝燦爛�！�
[Abstract]:The interdisciplinary nature of translation has become a generally accepted trend in the translation community. The subjects of psychology, sociology, anthropology, and linguistics are constantly being included in the academic scope of translation studies. Aesthetics, as the most recent marriage object of translation, is being paid more attention by more and more scholars and translation researchers. The research history, translation and aesthetics of the Chinese and foreign translation studies have a far-reaching origin. With the increasing demands of the art of translation, the aesthetics must be the necessary theoretical and practical support for the translation of the translation, especially the literary translation. The translation of poetry is a literary translation of Mount Everest. The translator is in a difficult position. It is highly refined and has rich language, strict and beautiful rhythm, and rich imagination, which is sensitive to the translator's writing skills, cultural accumulation and literary and art. It's a great test, and any translator appears to be in the face of poetry translation The expression of the non-translation of the poem shows that once the poem is translated, it will lose its face, and in particular, However, from the beginning of the last century to the present, numerous Chinese and foreign translators and poets have tried to translate the English poetry into English, and then a series of related arguments have been produced, the focus of which is of the shape and the God, the dispersion and the rhyme, and the domestication and The one of the dissimilation, the rigid standard of the translation skill and the thinking of the second one, bring the translation of the poetry into a dead end. It is difficult to make a big breakthrough. After the introduction of the aesthetic theory, the translation is no longer a technical transformation, and In China, poetry and calligraphy, painting are the art types of the same root, and have very high aesthetic value: including the meaning of the poem itself, the phonology, the rhythm and the far-reaching artistic conception, and more importantly, it has nowhere to embody the values of Chinese traditional aesthetics. balanced, natural, A vague and fuzzy beauty. These are ancient poems that can't be used as art. An indelible aesthetic value. Therefore, when the translator reexamines the translation of the poem from the aesthetic point of view, the translator translates the poetry into The purpose of this paper is to break the rigid pattern of the translation of poetry for a long time, and to promote the translation of poetry to the artistic creation by using the theory of translation aesthetics. On the basis of the traditional dynamic peer-to-peer and functional peer-to-peer theory, the paper puts forward the theory of aesthetics, and, in the practical application, replaces the cultural vacancy with the foreign beauty of the poetry, Therefore, the dissimilation will not only hinder the exchange, but instead will retain our national language. The characteristics of translation and the interest of foreign readers. The application of translation aesthetics to the translation of poetry, our classical poetry The song is only allowed to continue its artistic life, and the culture of our poetry is carried forward. The aesthetic standard, because one of the purpose and function of the poem is to stimulate the reader's different imagination and reaction, so the poetry translation can not be restricted by the unified standard after the translation of the poetry is improved to the artistic level, It should promote the academic atmosphere and provide free hair for the translation of poetry. The space and environment of the exhibition. In the twenty-first century, the economic globalization has driven the globalization of the culture. With the deepening of the communication between the Chinese and the West, the readers of the west The country culture has more understanding, especially in 2008 China will host the Olympics 浼

本文編號：2346899