基于语音语料库的乐府诗翻译的语音象似性研究

发布时间：2018-04-22 00:18

本文选题：《乐府诗》 + 语音象似性　；参考：《江苏大学》2017年硕士论文

【摘要】：乐府诗专指入乐的诗歌,来源于民间,语言通俗朴素,节奏简练鲜明,风格灵活多样,故而流传至今。为了广泛传唱,作诗者常巧妙运用语言的音乐性传达意义,使人但闻其声,如见其景,必体其情。针对乐府诗的文体特点,本研究侧重乐府诗语音层面的翻译研究,选取乐府诗歌中的13首作为源语文本,许渊冲、杨宪益和李正栓的英译版本为目的语文本,结合语音象似性理论,探究乐府诗及其翻译中的音乐性翻译规范。为保证研究的客观性和可靠性,建立了英汉平行语料库和语音语料库,采用数据驱动的方法,借助语音合成软件Interphonic 6.0和语音分析软件praat对选取语料及其英译本的语音语料的语音重复、语音象征以及节奏的调域和音高参数进行数据统计分析。研究结果表明:(1)在语音重复方面,主要体现在叠词和押韵两个层面,三个译者对原文中叠词的处理主要采用了词重复、音重复和押韵三种方法。同时,三个译者也都在一定程度上采用了押头韵、尾韵、双声叠韵等方式实现音义同构。在语音重复的效果方面,许译本表现得最为出色,其译本更符合语音象似性所提出的观点,译文朗朗上口,语音和意义联系紧密,符合乐府诗易于传唱的特点。(2)在语音象征方面,我们发现三位译者中许渊冲译本中语音象征现象比比皆是,其影射之意也符合原文的感情基调,使诗歌在吟唱中传递真情实感。(3)在节奏方面,我们主要对时长和音高进行了考查。结果显示许译本仍表现出色。其时长较短,易于吟唱,且每首诗的时长特征符合诗歌的主题。在音高的比较中我们发现,许译本在调域的处理上注重与原诗感情的结合,且在起伏度上更符合原文的语气,将情感融入了语音,加强了语音的意义传达功能。综上所述,语音作为诗歌翻译中不可或缺的一部分,对诗歌意义的传达具有重要作用。本研究运用语料库研究方法,以语音象似性为理论框架,利用乐府诗起源于民间歌辞,适于传唱的特点,探索乐府诗及其翻译中的音乐性,为中国古代民歌及其翻译的语音研究提供重要的借鉴价值。
[Abstract]:Yuefu poetry refers to the poetry of music, from the folk, language popular simple, concise rhythm, flexible and diverse styles, so it has been spread to this day. In order to spread and sing widely, the poem writer often skillfully uses the musical nature of language to convey meaning, so that people can hear it, if they see the scene, they will have their feelings. According to the stylistic characteristics of Yuefu poems, this study focuses on the translation of Yuefu poems at the phonological level, and selects 13 of Yuefu poems as the source language versions, and Xu Yuanchong, Yang Xianyi and Li Zhengzhu's English translation versions as the target language versions. Based on the phonological iconicity theory, this paper explores the musical translation norms in Yuefu poetry and its translation. In order to ensure the objectivity and reliability of the study, the English and Chinese parallel corpus and the phonetic corpus are established, and the data-driven method is adopted. With the aid of the speech synthesis software Interphonic 6.0 and the speech analysis software praat, this paper makes statistical analysis on the phonetic repetition, phonetic symbol, rhythm and pitch parameters of the selected corpus and its English translation. The results show that in the aspect of phonetic repetition, the three translators mainly adopt three methods of repetition, phonetic repetition and rhyme. At the same time, to some extent, the three translators have adopted alliteration, final rhyme, double rhyme and so on to realize phonetic and semantic isomorphism. In terms of the effect of phonological repetition, Xu's version is the best. Its translation is more in line with the point of view put forward by phonological iconicity. In the aspect of phonetic symbolism, we find that phonetic symbolism is ubiquitous in the three translators' versions of Xu Yuanchong, and its innuendo also accords with the emotional tone of the original text. In rhythm, we mainly examine the duration and pitch. The results show that Xu still performs well. Its duration is short, easy to sing, and the length of each poem is in line with the theme of the poem. In the comparison of pitch, we find that Xu's translation pays attention to the combination of emotion with the original poem's emotion, and in terms of fluctuation, it fits the tone of the original text, and integrates emotion into pronunciation and strengthens the function of meaning communication of pronunciation. In conclusion, as an indispensable part of poetry translation, pronunciation plays an important role in the communication of poetic meaning. The present study uses corpus research methods, taking phonetic iconicity as the theoretical framework, and using the characteristics that Yuefu poetry originates from folk songs and is suitable for singing, explores the musicality of Yuefu poetry and its translation. It provides an important reference value for the phonological study of ancient Chinese folk songs and their translation.
【学位授予单位】：江苏大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：H315.9

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