【摘要】：本文旨在探討意象翻譯的審美接受,并運用中西詩學、翻譯理論和接受美學理論,對唐詩意象進行不同層面的剖析。 意象乃詩歌之靈魂,籍精煉簡雋語言而將讀者引入一個廣闊的遐想的空間。其實質(zhì)不僅在于主觀情意與客觀物景契合交融,更在于創(chuàng)造“象外之意”、“意在言外”。意象既展示詩人豐富內(nèi)心世界,又寓抽象模糊之義于具體豐腴物象。具有題外之旨和強烈藝術召喚力。 本文認為,意象之美歸因于其模糊的不確定性,為讀者提供廣袤無垠的可想象、聯(lián)想和再創(chuàng)造的空間。由于不同文化背景、不同的思維模式和審美接受,對于同一意象,另類文化的讀者和譯者具有相異的闡釋和具體化。 依據(jù)接受美學與接受理論的觀點:一千個讀者,便會有一千個Hamlet,同理,一千個譯者也會有一千個Hamlet。因為譯者首先必須是讀者,而且是深層次的讀者。但不管有多少個Hamlet,其中最像原文Hamlet的畢竟只有一個,本人以為依據(jù)接受美學與接受理論的觀點,翻譯中的意象保留最完整的譯文,便是最佳譯文。因為讀者在接受過程中可以憑借最完整的意象,得到最佳審美享受,或最接近原文意象和意境的審美享受,從而使讀者在譯者留下的最大想象空間中任憑想象的羽翼展翅飛翔。 作為經(jīng)典藝術瑰寶,唐詩充滿濃郁的意象,享“詩中有畫”之譽,其語言具有中華民族文化的豐厚的積淀,而唐詩翻譯作為對另種語言的理解和闡釋在翻譯中往往會因文化的介入而造成了翻譯的缺憾或誤讀。簽于此,本文提出了并論證了唐詩意象的闡釋與翻譯問題。 本文首先總結(jié)中西詩學的意象翻譯的觀點,然后依據(jù)中西詩學和闡釋學對中西文化進行了對比和比較,強調(diào)文本的開放性和讀者的積極參與作用。將接受美學應用于唐詩意象的翻譯,提倡許淵沖的譯詩“三美”策略并進行實證。本文在結(jié)論中重申了闡釋學和接受美學重要性。 意象乃中西詩學共同審美追求,本文冀尋意象以搭起中西文學溝通之橋。
[Abstract]:This paper aims to explore the aesthetic acceptance of image translation, and to analyze the images of Tang poetry from different perspectives by applying Chinese and Western poetics, translation theory and reception aesthetics.
Image is the soul of poetry, which is refined by concise language to introduce readers to a wide space of imagination. In fact, the essence is not only the combination of subjective feelings and objective objects, but also the creation of "the meaning of the elephant" and "out of words". There is a tenor and a strong artistic summon power.
This article holds that the beauty of image is attributable to its vague uncertainty, providing the reader with a vast expanse of imagination, association and recreation. Because of different cultural backgrounds, different modes of thinking and aesthetic acceptance, the readers and translators of the same image and alternative culture have different interpretations and concretions.
According to the view of reception aesthetics and acceptance theory: one thousand readers, there will be one thousand Hamlet, and one thousand translators will have one thousand Hamlet. because the translator must first be the reader and the deeper reader. However, no matter how many Hamlet, the most like the original Hamlet is only one, I think it is based on the reception aesthetics. In the view of the reception theory, the most complete translation of the image in the translation is the best translation, because the reader can get the best aesthetic enjoyment, or the most close to the aesthetic enjoyment of the original image and artistic conception by virtue of the most complete image in the process of acceptance, so that the reader will leave the imaginary wing in the most imaginative space left by the translator. Wings fly.
As a classic art treasure, Tang poetry is full of rich images and enjoys the reputation of "painting in painting", and its language has a rich accumulation of Chinese culture, and the translation of Tang poetry, as an understanding and interpretation of the other language, often causes the defects or misunderstandings of translation in translation. The interpretation and translation of the image of the Tang poetry.
This article first summarizes the idea of image translation in Chinese and Western poetics, then compares and compares the Chinese and Western cultures with Chinese and Western poetics and hermeneutics, emphasizes the openness of the text and the active participation of the readers. It applies the aesthetics of reception to the translation of the image of the Tang poetry, and advocates the strategy of "three beauty" in Xu Yuanchong's poetry and carries out an empirical study. The conclusion reiterates the importance of Hermeneutics and reception aesthetics.
Image is the common aesthetic pursuit of Chinese and Western poetics. This article aims to find images to bridge the bridge of communication between Chinese and Western literature.
【學位授予單位】：安徽大學
【學位級別】：碩士
【學位授予年份】：2005
【分類號】：I046

【引證文獻】

相關碩士學位論文 前2條

1 劉華湘;從順應論看中國古典詩歌意象的翻譯[D];首都師范大學;2011年

2 黃河清;從跨文化角度看中國古典詩歌意象的翻譯[D];上海外國語大學;2009年

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本文編號：2165897