本文選題：翻譯單位 + 古典漢詩(shī)翻譯　； 參考：《四川師范大學(xué)》2003年碩士論文

【摘要】： 翻譯單位是最小的話語(yǔ)段，在其中各種符號(hào)的銜接達(dá)到了不需要分割開來翻譯的程度。換句話說，翻譯單位是在譯文中具有對(duì)應(yīng)物的原文最小單位。翻譯單位問題是翻譯理論中最復(fù)雜的問題之一。對(duì)于這一問題，研究者各持己見，有人甚至否認(rèn)它的存在，有的研究者認(rèn)為翻譯單位在翻譯之中是任何譯者都回避不了且無法否認(rèn)的語(yǔ)言事實(shí)。對(duì)于翻譯單位的劃分及功能，翻譯理論家們也是見仁見智，聚訟紛紜。翻譯單位的劃分和討論，大都集中在散文（包括文學(xué)和非文學(xué)作品）翻譯上，但就詩(shī)歌翻譯單位而言，國(guó)內(nèi)外專章進(jìn)行討論的非常有限。本文作者綜合各家之觀點(diǎn)，認(rèn)為翻譯單位在翻譯之中是客觀存在的，并具有可操作性�；诖耍髡呖甲C了翻譯單位問題產(chǎn)生的緣起，中西分類及研究情況，認(rèn)為翻譯單位在詩(shī)歌翻譯中是一個(gè)動(dòng)態(tài)的概念。從文藝現(xiàn)象學(xué)的觀點(diǎn)出發(fā)，作者認(rèn)為，詩(shī)歌作為文學(xué)的一個(gè)種類，包含有語(yǔ)言邏輯成分以外的美感因素，因此詩(shī)歌翻譯便具有美感因素的體驗(yàn)、和美感因素的再現(xiàn)兩個(gè)主要形態(tài)，即有一個(gè)意象轉(zhuǎn)換的過程。詩(shī)歌翻譯單位可以是詞語(yǔ)、詩(shī)行、詩(shī)節(jié)或整個(gè)語(yǔ)篇。但建立在整體觀念上的意象轉(zhuǎn)換作為古典漢詩(shī)的翻譯單位可以排除以詞語(yǔ)、詩(shī)行、詩(shī)節(jié)或整個(gè)語(yǔ)篇作為翻譯單位的單一性和靜態(tài)特性甚至機(jī)械性，從而為漢詩(shī)翻譯提供更大的空間。 本文分導(dǎo)言、四個(gè)章節(jié)和結(jié)語(yǔ)共六部分。導(dǎo)言部分引出翻譯單位問題，指出它在翻譯理論中的復(fù)雜性。第一章是對(duì)翻譯單位研究的歷史性回顧，作者追溯了關(guān)于這一問題的緣起、中西各種劃分方法以及翻譯單位問題被引入詩(shī)歌翻譯中的情況。第二章討論了翻譯單位在古典漢詩(shī)翻譯中的劃分，，指出常見的有詞語(yǔ)、詩(shī)行、詩(shī)節(jié)或整個(gè)語(yǔ)篇為翻譯單位，但都不足以解決詩(shī)歌翻譯這一特殊 WP=5 領(lǐng)域的特殊矛盾。第三章是第二章的邏輯發(fā)展，作者認(rèn)為意象應(yīng)該是古典漢詩(shī)翻譯中的基本單位，并對(duì)比了中外詩(shī)歌文論中意象存在的內(nèi)涵意義和特征，和它作為漢詩(shī)英中的翻譯單位的可操作性并討論了意象的可譯性。第四章歸納了常見的意象翻譯策略，并指出在翻譯漢詩(shī)時(shí)，需要確立一個(gè)動(dòng)態(tài)的翻譯策略。結(jié)語(yǔ)部分指出漢詩(shī)英中的翻譯單位問題是一個(gè)動(dòng)態(tài)的問題，我們應(yīng)綜合純語(yǔ)言學(xué)和文藝學(xué)的理論，進(jìn)而為古典漢詩(shī)的英譯建立一種具有可操作性的翻譯單位劃分模式。
[Abstract]:The unit of translation is the smallest utterance, in which the cohesion of various symbols reaches the point where translation is not necessary. In other words, the translation unit is the smallest unit of the original text with a counterpart in the translation. The problem of translation unit is one of the most complicated problems in translation theory. On this issue, the researchers hold their own opinions and some even deny its existence. Some researchers think that the translation unit is a linguistic fact that any translator can not avoid and deny. As to the division and function of translation units, translation theorists have different opinions. The division and discussion of translation units mostly focus on the translation of prose (including literary and non-literary works), but as far as poetry translation units are concerned, the discussion of special chapters at home and abroad is very limited. The author considers that translation units are objective and operable in translation. Based on this, the author examines the origin of the translation unit problem, the classification and research of the Chinese and western countries, and holds that the translation unit is a dynamic concept in poetry translation. From the point of view of literary phenomenology, the author holds that poetry, as a kind of literature, contains aesthetic factors other than language logic, so poetry translation has the experience of aesthetic factors. And aesthetic factors of the reproduction of two main forms, that is, there is a process of image conversion. Poetry translation units can be words, lines, verses or the whole text. However, as the translation unit of classical Chinese poetry, the image transformation based on the whole concept can exclude the singularity and static characteristics and even the mechanical nature of words, lines, verses or the whole text as translation units. So as to provide more space for the translation of Chinese poetry. This article is divided into six parts: introduction, four chapters and conclusion. The introduction leads to the problem of translation unit and points out its complexity in translation theory. The first chapter is a historical review of the study of translation units. The author traces the origin of the problem, the methods of division between China and the West, and the introduction of the question of translation units into poetry translation. The second chapter discusses the division of translation units in the translation of classical Chinese poetry, pointing out that the common words, lines, verses or the whole text are translation units. However, it is not enough to solve the special contradiction in the field of poetry translation. The third chapter is the logical development of the second chapter. The author thinks that the image should be the basic unit in the translation of classical Chinese poetry, and compares the connotation and characteristics of the image in the literary theory of Chinese and foreign poetry. And its operability as a translation unit in Chinese poetry and English and discusses the translatability of images. Chapter four summarizes the common strategies of image translation and points out that it is necessary to establish a dynamic translation strategy in the translation of Chinese poetry. The conclusion part points out that the translation unit problem in Chinese poetry is a dynamic problem. We should integrate the theories of pure linguistics and literature and art, and then establish an operational translation unit division model for the translation of classical Chinese poetry.
【學(xué)位授予單位】：四川師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2003
【分類號(hào)】：I046

【引證文獻(xiàn)】

相關(guān)碩士學(xué)位論文 前3條

1 徐秀峰;古詩(shī)英譯美的傳遞[D];中國(guó)海洋大學(xué);2006年

2 楊婷;中國(guó)古典詩(shī)歌的可譯性[D];安徽大學(xué);2007年

3 李麗;許淵沖中國(guó)古典詩(shī)歌翻譯中的美學(xué)策略研究[D];太原理工大學(xué);2009年

本文編號(hào)：2105829