《拜伦诗

发布时间：2018-07-10 04:21

  本文选题：节奏 + 音韵　； 参考：《贵州大学》2016年硕士论文

【摘要】：在翻译中,由于有效沟通的需要,意义通常被赋予比形式更高的优先权。因此,相对动态对等而言,奈达的形式对等长期以来一直被忽略。然而就诗歌而言,声音与形式都是诗歌的组成要素。在某些情况中,一首诗的声音与形式甚至传达了一定的意义。而且,如果不能再现诗歌的节奏与音韵,译诗就很难表现原诗的音律美和结构美。由于声音与字面意义关系不是很大,因此,形式对等应该更有可能适用于诗歌节奏和音韵的翻译。对于诗歌音律的翻译实践与研究,以往大都依赖译者本人对英汉诗歌格律知识的掌握,以及对前人所做研究的借鉴和总结的基础上完成的。运用形式对等理论对诗歌音律的研究并不多见。鉴于此,本论文运用奈达形式对等的理论,对杨德豫译《拜伦诗选》中的节奏和音韵进行比较分析,借以论证其在诗歌翻译中的可行性。并试图阐释如何在保证意义对等的前提下,尽量做到形式对等,为今后解决诗歌翻译中意义与形式的矛盾问题,以及诗歌翻译的实践和研究提供借鉴。本论文分为五个部分,引言部分概述了翻译过程中意义与形式的矛盾,指出本论文研究的重点不在于意义与形式的优先问题,而在于如何利用形式对等理论,在翻译过程中尽可能地再现诗歌的音律美。第二章对英汉诗歌翻译中节奏与音韵的处理方式,拜伦诗歌的汉译,以及杨德豫译本的研究做了概述。论文的第三章对英语诗歌的节奏和音韵做了必要的介绍。第四章是本论文的重点,作者对所选译本中的节奏和音韵与原作进行了较为全面的对比与分析,同时对杨译本所取得的成就与存在的瑕疵进行评价和总结。研究结果表明,杨译本在很大程度上再现了拜伦诗歌中的节奏与音韵。以此得出结论,在保持原文意义的前提下,形式对等理论可以用于对译诗音律忠实原诗的程度进行检验和评价,且有助于提高译诗的质量。
[Abstract]:In translation, due to the need for effective communication, meaning is usually given higher priority than form. Therefore, relative to dynamic equivalence, formal equivalence of Nida has been neglected for a long time. However, as far as poetry is concerned, both sound and form are elements of poetry. In some cases, the sound and form of a poem even convey a certain meaning. Moreover, if the rhythm and rhyme of the poem can not be reproduced, it is difficult to express the rhythmic beauty and the structural beauty of the original poem. Since the relation between sound and literal meaning is not very great, formal equivalence should be more likely to be applied to the translation of poetry rhythm and rhyme. In the past, the translation practice and research of poetry rhythm mostly depended on the translator's own knowledge of the rhythm of poetry between English and Chinese, as well as the reference and summary of the previous studies. It is rare to use formal equivalence theory to study the rhythm of poetry. In view of this, this thesis makes a comparative analysis of rhythm and rhyme in the translation of Byron's Poems by using the theory of Nida's formal equivalence, in order to prove its feasibility in poetry translation. It also attempts to explain how to achieve formal equivalence on the premise of ensuring equivalence of meaning, so as to provide a reference for solving the contradiction between meaning and form in poetry translation in the future, as well as the practice and research of poetry translation. This thesis is divided into five parts. The introduction summarizes the contradiction between meaning and form in translation, pointing out that the focus of this thesis is not on the priority of meaning and form, but on how to make use of formal equivalence theory. In the process of translation, we try to reproduce the rhythmic beauty of poetry as much as possible. Chapter two gives an overview of the approaches to rhythm and rhyme in the translation of English and Chinese poetry, the translation of Byron's poems into Chinese, and the study of the translation of Yang Deyu. Chapter three introduces the rhythm and rhyme of English poetry. The fourth chapter is the focus of this thesis. The author makes a comprehensive comparison and analysis of the rhythm and rhyme of the selected translation and the original works. At the same time, the author evaluates and summarizes the achievements and defects of Yang's translation. The results show that Yang's translation reproduces to a great extent the rhythm and rhyme in Byron's poems. On the premise of maintaining the meaning of the original text, the formal equivalence theory can be used to test and evaluate the degree of fidelity to the original poem, and to improve the quality of the translated poem.
【学位授予单位】：贵州大学
【学位级别】：硕士
【学位授予年份】：2016
【分类号】：H315.9;I046
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本文编号：2112027