目的论视角下中国古典诗歌《长恨歌》中文化意象的英译方法

发布时间：2018-04-28 23:12

本文选题：意象 + 文化意象　；参考：《西华大学》2017年硕士论文

【摘要】：意象的运用是中国古典诗歌的主要特征之一。由于中国文化博大精深,诗人在作品中所运用的这些形象生动丰富多彩的意象往往包含着寓意深刻的文化内涵,如何将隐藏在意象之后的文化恰当准确地表现出来,一直以来都是中国古典诗歌英译的难点之一。对于意象的研究,古今中外的学者都有一定的看法和结论,但对于中国古典诗歌中包含浓郁文化色彩的意象的研究却寥寥无几。直到1999年,我国著名翻译家谢天振先生首次在其专著《译介学》中借“烟花三月下扬州”中的“扬州”为例,提出了“文化意象”这一新术语。随即引起了翻译界的讨论和重视。通过阅读前人的学术成果,本文作者有三点新发现:一,在英译中国古典诗歌的过程中,大多数译员并没有清晰的认识到意象与文化意象的不同之处,所译出的作品没有展现出该意象之后的文化内涵。二,多数对文化意象的研究,虽然讨论角度不同,但都是对其表现形式和翻译方法的研究。三,很多研究成果中并没有对古典诗歌中文化意象的理论价值进行深入的分析。文化意象作为中国古典诗歌中的精髓,借助不同的意象,传递出深刻的文化,唤起读者心中独特的共鸣,以达到更高层次的文学效果,因此应该引起广大翻译学者的重视。译员们应深入全面研究中国古典诗歌中所包含的文化意象,将其提升到理论高度,指导翻译实践以实现中国文化高质量向外传播的目标。鉴于此,本文作者在已有研究成果的基础上,通过分析意象在中国和西方的发展,从文化意象文化意象与一般意象的角度出发,并以唐代诗人白居易的《长恨歌》为例,证明以德国翻译家汉斯·费尔米的翻译目的论为指导并结合西班牙翻译家艾克西拉的十一项翻译策略是可以有效地翻译出中国古典诗歌中的文化意象并对外传播中国的诗歌文化。本文作者进而希望在此理论和翻译策略的影响下,能有效指导中国诗歌中文化意象的翻译,提升中国古典诗歌的翻译质量。
[Abstract]:The use of imagery is one of the main features of Chinese classical poetry. Because the Chinese culture is extensive and profound, the poets use these vivid images in their works? Rich and colorful images often contain profound cultural connotations, how to hide behind the image of the appropriate culture? It has always been one of the difficulties in translating Chinese classical poetry into English. Scholars at all times and in all over the world have some opinions and conclusions on the study of image, but there are few researches on the image of Chinese classical poetry which contains rich cultural color. Until 1999, Xie Tianzhen, a famous translator in China, first proposed the new term of "cultural image" in his monograph, "Translation and introduction", with the example of "Yangzhou" in "Yangzhou in March of fireworks". It has aroused the discussion and attention of the translation circles. By reading the academic achievements of previous scholars, the author has three new findings: first, in the process of translating Chinese classical poetry into English, most interpreters do not clearly recognize the differences between images and cultural images. The translated works do not reveal the cultural connotation after the image. Secondly, most of the researches on cultural imagery, though from different angles, are all about its forms of expression and translation methods. Third, the theoretical value of cultural imagery in classical poetry has not been deeply analyzed in many research results. As the quintessence of Chinese classical poetry, cultural image conveys profound culture with the help of different images, evokes the readers' unique resonance in order to achieve a higher level of literary effect. Therefore, translation scholars should attach importance to it. Translators should thoroughly study the cultural images contained in classical Chinese poetry, raise them to a theoretical level, and guide translation practice in order to achieve the goal of high-quality outward dissemination of Chinese culture. In view of this, the author based on the existing research results, through the analysis of the development of imagery in China and the West, from the culture? Imagery? From the perspective of cultural image and general image, and taking the Tang Dynasty poet Bai Juyi's Song of Eternal resentment as an example, It is proved that guided by the Skopos theory of German translator Hans Fermi and combined with the eleven translation strategies of Spanish translator Aksila, the cultural images in Chinese classical poetry can be effectively translated and disseminated to the outside world. Chinese poetic culture Under the influence of this theory and translation strategies, the author hopes to effectively guide the translation of cultural images in Chinese poetry and improve the translation quality of Chinese classical poetry.
【学位授予单位】：西华大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：H315.9;I046

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