李清照词中意象翻译的符号学视域
发布时间：2018-11-05 11:28
【摘要】：意象是客观物象经过创作主体独特的情感活动而创造出来的一种艺术形象。主观的“意”和客观的“象”的结合,融入了诗人思想感情的物象。因此,意象是中国古典诗学中重要的表达概念,意象翻译在古典诗词翻译中占有重要地位。李清照,作为婉约派的典型代表,其词清丽典雅,深文隐蔚,以委婉的情思和超脱的情怀构造出丰富充盈、清新精致的意象,表达出词人深邃细腻的思想情感。历来对李清照词的英译研究较多,而对其词中意象的翻译研究则相对较少,且研究内容多局限于单个意象的翻译及翻译策略上,未能超越传统单个意象的研究范畴。本文试从皮尔斯阐释符号学这一新的理论视角来探讨李清照词中单个意象,意象丛与意象群的翻译问题。 皮尔斯阐释符号学认为符号总是受三个本体范畴所支配,分别是第一性、第二性和第三性,这三个范畴构成现实的基本模式。任何形式的符号都包含从属于这三个范畴的关联物(即表现项、对象和解释项),这三个关联物之间的互动就是符号阐释。通过分析,本文发现意象本质上是一种符号,具有表现项、对象和解释项三个关联物,而意象符号的翻译可视为符号阐释过程,这就构成了本文的理论切入点。 文章首先概述了国内外学者对意象的阐释,同时回顾了前人针对意象翻译研究采取的不同途径。其次,本文介绍了相关的符号学思想,分别论述了符号学和翻译、意象及意象翻译之间的关系。最后文章从符号学视域探讨了李清照词中意象的翻译问题,讨论了李词中意象翻译的实质,从单个意象、意象丛和意象群三个层次具体详细地分析了李清照词中的意象翻译问题,提出在进行中国古典诗词中意象的翻译时应追求最大程度的对等,以促进中国文学与文化的对外传播。 本文的研究意义在于：从符号学视角研究了李清照词中意象翻译的对等问题,提出意象翻译应该在质量关系、指涉关系和意蕴关系三个维度实现对等,尤其要实现意蕴关系的对等,即传达出李词中表达的思想情感和营造的意境。这就超越了传统的“信、达、雅”翻译标准及等值翻译观,为意象翻译的对等问题提供全新的理论视角。同时从单个意象、意象丛和意象群三个层次来研究李词中意象的翻译问题,突破了以往意象翻译研究强调单个意象对等的局限性,认为意象翻译实际上是在意象丛和意象群整体框架下意象的再造与意象的文化移植,这就为意象翻译提供了更为开阔的视野。
[Abstract]:Image is an artistic image created by the unique emotional activities of the creative subject. The combination of subjective "meaning" and objective "image" is integrated with the poet's thoughts and feelings. Therefore, image is an important expression concept in Chinese classical poetics, and image translation plays an important role in the translation of classical poetry. Li Qingzhao, as a typical representative of the politeness school, whose words are elegant and elegant, profound and subtle, construct a rich, fresh and delicate image with euphemism and transcendent feelings, and express the profound and delicate thoughts and feelings of the poet. There have always been more studies on the translation of Li Qingzhao's words into English, while the studies on the images in Li Qingzhao's ci have been relatively few, and most of the studies are confined to the translation and translation strategies of single images, which fail to exceed the study category of traditional single images. This paper attempts to explore the translation of individual images, image clusters and image groups in Li Qingzhao's ci from the perspective of Pierce's interpretation of semiotics. Pierce's hermeneutic semiotics holds that symbols are always dominated by three ontological categories, namely, primary, second and third, which constitute the basic mode of reality. Any form of symbol consists of related objects (i.e. presentation items, objects and explanatory items) belonging to these three categories, and the interaction between them is symbolic interpretation. Through analysis, it is found that the image is essentially a symbol, with three related objects: expressive item, object and explanatory item, and the translation of image symbol can be regarded as the process of symbolic interpretation, which constitutes the theoretical breakthrough point of this thesis. This paper first summarizes the interpretation of imagery by scholars at home and abroad, and reviews the different approaches taken by predecessors in the study of image translation. Secondly, this paper introduces the semiotics thoughts and discusses the relationship between semiotics and translation, image and image translation. Finally, the paper discusses the translation of images in Li Qingzhao's ci from the perspective of semiotics, discusses the essence of the translation of images in Li's ci, and discusses the translation of individual images from the perspective of semiotics. This paper analyzes in detail the problem of image translation in Li Qingzhao's ci at the three levels of image cluster and image group, and puts forward that the translation of image in classical Chinese poetry should seek maximum equivalence in order to promote the dissemination of Chinese literature and culture to the outside world. The research significance of this thesis lies in: from the perspective of semiotics, this paper studies the equivalence of image translation in Li Qingzhao's ci words, and puts forward that image translation should be based on three dimensions: quality relation, signified relation and implication relation. In particular, we should realize the equivalence of implication relationship, that is, convey the thoughts and feelings expressed in Li's ci and create the artistic conception. This goes beyond the traditional translation standards and equivalent translation concepts, and provides a new theoretical perspective for the equivalence of image translation. At the same time, this paper studies the translation of images in Li ci from the three levels of single image, image cluster and image group, which breaks through the limitations of previous studies on image translation emphasizing the equivalence of individual images. It is believed that image translation is in fact the reconstruction of images and the cultural transplantation of images within the framework of image clusters and image groups which provides a broader perspective for image translation.
【学位授予单位】：中南大学
【学位级别】：硕士
【学位授予年份】：2012
【分类号】：H059;I046
本文编号：2311931
[Abstract]:Image is an artistic image created by the unique emotional activities of the creative subject. The combination of subjective "meaning" and objective "image" is integrated with the poet's thoughts and feelings. Therefore, image is an important expression concept in Chinese classical poetics, and image translation plays an important role in the translation of classical poetry. Li Qingzhao, as a typical representative of the politeness school, whose words are elegant and elegant, profound and subtle, construct a rich, fresh and delicate image with euphemism and transcendent feelings, and express the profound and delicate thoughts and feelings of the poet. There have always been more studies on the translation of Li Qingzhao's words into English, while the studies on the images in Li Qingzhao's ci have been relatively few, and most of the studies are confined to the translation and translation strategies of single images, which fail to exceed the study category of traditional single images. This paper attempts to explore the translation of individual images, image clusters and image groups in Li Qingzhao's ci from the perspective of Pierce's interpretation of semiotics. Pierce's hermeneutic semiotics holds that symbols are always dominated by three ontological categories, namely, primary, second and third, which constitute the basic mode of reality. Any form of symbol consists of related objects (i.e. presentation items, objects and explanatory items) belonging to these three categories, and the interaction between them is symbolic interpretation. Through analysis, it is found that the image is essentially a symbol, with three related objects: expressive item, object and explanatory item, and the translation of image symbol can be regarded as the process of symbolic interpretation, which constitutes the theoretical breakthrough point of this thesis. This paper first summarizes the interpretation of imagery by scholars at home and abroad, and reviews the different approaches taken by predecessors in the study of image translation. Secondly, this paper introduces the semiotics thoughts and discusses the relationship between semiotics and translation, image and image translation. Finally, the paper discusses the translation of images in Li Qingzhao's ci from the perspective of semiotics, discusses the essence of the translation of images in Li's ci, and discusses the translation of individual images from the perspective of semiotics. This paper analyzes in detail the problem of image translation in Li Qingzhao's ci at the three levels of image cluster and image group, and puts forward that the translation of image in classical Chinese poetry should seek maximum equivalence in order to promote the dissemination of Chinese literature and culture to the outside world. The research significance of this thesis lies in: from the perspective of semiotics, this paper studies the equivalence of image translation in Li Qingzhao's ci words, and puts forward that image translation should be based on three dimensions: quality relation, signified relation and implication relation. In particular, we should realize the equivalence of implication relationship, that is, convey the thoughts and feelings expressed in Li's ci and create the artistic conception. This goes beyond the traditional translation standards and equivalent translation concepts, and provides a new theoretical perspective for the equivalence of image translation. At the same time, this paper studies the translation of images in Li ci from the three levels of single image, image cluster and image group, which breaks through the limitations of previous studies on image translation emphasizing the equivalence of individual images. It is believed that image translation is in fact the reconstruction of images and the cultural transplantation of images within the framework of image clusters and image groups which provides a broader perspective for image translation.
【学位授予单位】：中南大学
【学位级别】：硕士
【学位授予年份】：2012
【分类号】：H059;I046
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