本文選題：意象　切入點：林黛玉的詩歌　出處：《西南交通大學(xué)》2017年碩士論文　論文類型：學(xué)位論文

【摘要】：林黛玉的詩歌是《紅樓夢》不可或缺的重要部分。《紅樓夢》有三個完整的英譯本,其中兩個完整版本—楊憲益和戴乃迭的譯本,大衛(wèi)·霍克斯和約翰·閔福德的譯本,在學(xué)術(shù)界很受歡迎,而神父邦索爾譯的第一個但未發(fā)表的全譯本受到的關(guān)注較少�；谌齻�譯本的比較分析,本文主要探討了林黛玉的詩歌意象。瑪麗·斯內(nèi)爾-霍恩強(qiáng)調(diào)使用格式塔的整體原則來深入研究文學(xué)翻譯。本文與她的深刻見解產(chǎn)生了共鳴,試圖從姜秋霞提出的格式塔意象視角出發(fā),探討了林黛玉詩歌翻譯中格式塔意象再造。文中使用定性、定量和比較方法,從各種各樣的詩歌意象中,選擇了抽象意象,數(shù)字意象和名字意象,并且探討了三種意象的心理和語言層面上的再現(xiàn)。關(guān)于抽象意象和數(shù)字意象的翻譯策略,本文發(fā)現(xiàn):相比其他的策略如意譯、省略、替換,三個譯者更多地使用了直譯;邦索爾幾乎都采用直譯;相比霍克斯,楊憲益更多地采納了直譯。至于名字意象的翻譯策略,可以看出邦索爾都采用音譯,而楊和霍克斯都使用兩種方法—音譯和語義翻譯。接著本文對語言層面,審美水平,部分和整體三個層面的和諧做了初步研究。研究發(fā)現(xiàn):關(guān)于語言層面的和諧,相比邦索爾,霍克斯和楊憲益更能再現(xiàn)原詩的音律從而實現(xiàn)語言和諧;至于審美水平,相比霍克斯和邦索爾,楊憲益更能再現(xiàn)審美和諧,保持完整的格式塔特質(zhì)并使目標(biāo)語讀者體驗到原詩呈現(xiàn)的審美享受;關(guān)于部分和整體的和諧,三個譯本都盡力再現(xiàn)格式塔整體意象,實現(xiàn)各部分恰當(dāng)?shù)厝谌胝w,而不是語言成分簡單地對應(yīng)。每個譯本都有優(yōu)點和缺點.就想象機(jī)能和適應(yīng)機(jī)能而言,與楊憲益和邦索爾相比,霍克斯擅長釋放想象力來填補差距以及改變現(xiàn)有的模式使其一致和諧地融入原文。該研究可能為詩歌翻譯者再現(xiàn)審美效應(yīng)提供了借鑒,這也可以應(yīng)用于其他詩歌翻譯研究—從格式塔再造視角來評估其他的詩歌翻譯。
[Abstract]:Lin Daiyu's poems are an indispensable part of A Dream of Red Mansions. There are three complete English versions of the Dream of Red Mansions, two of which are translated by Yang Xianyi and Dai Naidi, and by David Hawks and John Minford. Popular in academia, the first but unpublished full version of Father Bonsall's translation received less attention based on a comparative analysis of the three versions. This paper focuses on Lin Daiyu's poetic imagery. Mary Snell Horne emphasizes the use of the holistic principle of the Gestalt to study literary translation in depth. This article resonates with her insights. From the perspective of Gestalt image put forward by Jiang Qiu-xia, this paper discusses the reconstructing of gestalt image in the translation of Lin Daiyu's poetry. The qualitative, quantitative and comparative methods are used to select abstract image from all kinds of poetic images. On the translation strategies of abstract image and digital image, it is found that compared with other strategies, the translation strategy is satisfactory, ellipsis, substitution, and so on. The three translators used more literal translation; Bonsall almost all adopted literal translation; Yang Xianyi adopted more literal translation than Hawks. As for the translation strategy of name images, we can see that Bonsall uses transliteration. Yang and Hawks both use two methods-transliteration and semantic translation. Then this paper makes a preliminary study on the harmony between language level, aesthetic level, part and whole. Hawks and Yang Xianyi can reproduce the rhythm of the original poem and achieve language harmony. As for aesthetic level, rather than Hawks and Bonsall, Yang Xianyi can reproduce aesthetic harmony. The three versions try their best to reproduce the whole image of the Gestalt and realize the proper integration of each part into the whole, while maintaining the complete Gestalt characteristics and enabling the target readers to experience the aesthetic enjoyment presented by the original poem, the three versions try their best to reproduce the Gestalt's whole image in harmony with the whole. Each translation has its advantages and disadvantages. In terms of imaginative and adaptive functions, compared with Yang Xianyi and Bonsall, Hawks is adept at unlocking imagination to fill the gap and to change existing patterns so that they can blend in harmoniously with the original. The study may provide a reference for poetry translators to reproduce aesthetic effects. This can also be applied to other poetry translation studies-from the perspective of Gestalt Reconstruction to evaluate other poetry translation.
【學(xué)位授予單位】：西南交通大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：H315.9;I046

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