从改写理论解读庞德译作《神州集》

发布时间：2018-06-24 18:43

本文选题：庞德 + 《神州集》　；参考：《陕西师范大学》2006年硕士论文

【摘要】：庞德译作《神州集》曾经招致一味指责，也赢得了极度赞誉。然而，美国历史证实其独特的价值性，不仅具有传奇异域色彩，而且符合广大英美读者的口碑。该诗集应融入特定历史时期进行解读，视为具备实体性的中国古典诗歌改写文本。论文采取描写翻译学的研究视角，以勒弗菲尔改写理论为基石，结合图里、佐哈尔翻译理论，客观地评价解读庞氏诗集，多维度地描述了诗集中的创造性改写，并从内、外入手，深入分析了促成诗集创造性改写的深层原因。第一章简要介绍了研究背景和本文的整体框架结构。第二章对描写理论进行了系统阐释。翻译文学是不同于原语外国文学的一种创作，往往以改写文本的形式出现。从内因来讲，译者有自身的文学倾向、写作风格、翻译目的、翻译观念，译本不可避免地蕴含译者独特的创造性，而不是原文简单的复制品。从外因来讲，译本与目的语社会诸多客观要求是保持一致的。佐哈尔多元系统理论认为翻译文学在文学多元系统中所处的位置决定了译本创新性或保守性。图里以目的语为导向研究，具体提出了“翻译范式”支配制约译本：“首要范式”；“初步范式”；“操作范式”。勒弗菲尔继承发展了佐哈尔、图里系统理论，直接提出翻译是对原语文本的改写，反映一定的意识形态和一定的诗学；翻译的历史也是文学革新的历史。第三章和第四章是本文的核心部分。第三章从内容和形式两大板块具体解读庞氏《神州集》的创造改写模式。从内容上讲，，诗集呈现出自身特定的鲜明的主题；中国古典诗歌中的异域风味(地名、人名、典故)在诗集中有所丢失，但诗歌内在心境、情感氛围却得以重奏、强化；另外，诗集中意象虽与原诗也有一定的偏差，但意境的重构、涡旋的采掘使得译诗放射出最大的心灵能量。从形式上讲，诗集呈现出一副新面孔：语言口语化、图式信息化、节奏自由、灵活。值得注意的是诗集的新面孔在一定的程度上更加有利于诗歌内在情感的爆发。总的来说，诗集中有着明显的模仿、增删、保留，而正是这种“叛逆性”的、“创造性”的改写，诗集具备自身独特的文学实体性，在目的语文学系统表现出特有的价值。第四章着重分析支配制约庞氏《神州集》创造性改写的内外因素。庞氏时代的意识形态和诗学在一定程度上制约着译者对中国古典诗歌的改写。诗集中鲜明的主题正表达了当时战争年代人类的诸多痛苦和折磨；中国诗歌“触物以起情”、“叙物以言情”的表达方式也正弥合英美反叛抽象、概念化的哲学文化趋势；另
[Abstract]:Pound's translation of "the Divine Land" has attracted criticism, but also won extreme praise. However, American history has proved its unique value, not only with legendary exotic color, but also in line with the public praise of British and American readers. The collection of poems should be interpreted in a specific historical period and regarded as a rewritten text of Chinese classical poetry with entity. From the perspective of descriptive translation, the thesis takes Lefel's rewriting theory as the foundation stone, combines Toury and Zohar's translation theory, evaluates and interprets Ponzi's poetry collection objectively, describes the creative rewriting in it in many dimensions, and describes it from within. The author analyzes the deep reasons for the creative rewriting of poetry. The first chapter briefly introduces the research background and the whole frame structure of this paper. The second chapter systematically explains the description theory. Translation literature is a kind of creation which is different from the foreign literature of the original language and often appears in the form of rewriting the text. In terms of internal causes, translators have their own literary tendencies, writing style, translation purposes, translation concepts, and translation ideas. The translation inevitably contains the translator's unique creativity rather than the simple replica of the original text. In terms of external causes, the translation is consistent with many objective requirements of the target language society. Zorhar's theory of multiple systems holds that the position of translation literature in literary pluralism determines the originality or conservatism of the translation. Touri takes the target language as the direction of the study, and puts forward the "translation paradigm" to govern the translation: "primary paradigm", "preliminary paradigm" and "operational paradigm". Leverfield inherits the system theory of Zohar and Toury and puts forward directly that translation is a rewriting of the original text reflecting a certain ideology and a certain poetics and that the history of translation is also the history of literary innovation. The third and fourth chapters are the core of this paper. Chapter three explains the creation and rewriting mode of Ponzi's Shenzhouji from two parts: content and form. In terms of content, the collection of poems presents its own distinctive theme; the exotic flavor (place names, names of people, allusions) in Chinese classical poetry is lost in the collection, but the inner mood of the poetry, the emotional atmosphere can be re-played and strengthened; in addition, Although there are some deviations between the images and the original poems, the reconstruction of artistic conception and the extraction of vortex make the translated poems emit the greatest spiritual energy. In form, the anthology presents a new face: colloquial language, schematic information, free rhythm and flexibility. It is worth noting that the new faces of poetry to a certain extent are more conducive to the outbreak of the inner emotion of poetry. In general, there are obvious imitations, additions, deletions and reservations in the anthology of poetry, and it is this kind of "rebellious", "creative" rewriting. The anthology has its own unique literary entity and shows its unique value in the system of target language and literature. Chapter four focuses on the internal and external factors which restrict Ponzi's creative rewriting. The ideology and poetics of Ponzi era restrict the translator's rewriting of Chinese classical poetry to some extent. The distinct themes in the anthology are the expression of many suffering and torment of mankind during the war period; the expression of Chinese poetry "touching things with emotion" and "describing things with expressing feelings" is also bridging the philosophical and cultural trend of British and American rebellion against abstraction and conceptualization;
【学位授予单位】：陕西师范大学
【学位级别】：硕士
【学位授予年份】：2006
【分类号】：I046;H059

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