元代小令英译初探

发布时间：2018-08-18 10:39

【摘要】： 据本文作者调查，元曲翻译尚未受到应有的重视。国内外都较缺少元曲译本，特别是其小令的译本。本文的目的在于唤起学界对小令翻译的更多关注。主要参照了许渊冲的诗歌翻译理论及中国传统诗学与美学，结合纽马克(及其他翻译家)的翻译理论，给出了本文作者对某些有代表性小令的译文，并与其他译者(许渊冲，辜正坤)的译文进行了对比分析，目的在于寻找较好的小令翻译方法。本文的主要研究结果如下：对于“雅派”小令的翻译，意境美是意美的一个关键部分(以许渊冲的“三美论”为参照)，译者应当敏锐的察觉隐藏在意向之下的意境并力求在译文中再现这种意境。如有必要，译者有理由改变原诗的具体用语。总的来看，“雅派”小令的语言精美雅致，为了重现意境美(意美)，这种精致的措辞风格应当予以保留。音美和形美也是重要的。译者应当在三者间寻求恰当的平衡。对于“俗派”小令，本文研究了许渊冲和辜正坤的译文，，发现两者都未能充分重视原诗的风格特征，尤其是后者。无论原诗的实际情况如何，辜都倾向于使用古雅的文风。这种方式值得商榷，因为损失原诗的风格特征也意味着破坏其意美。因此，本文作者在许渊冲的“三美论”之外增加了第四重美，即“风格美”。作者希望原诗风格的再现能得到更多重视，特别是“俗派”小令的口语化风格。
[Abstract]:According to the author's investigation, the translation of Yuan qu has not received due attention. Both at home and abroad, there is a lack of translation of Yuan qu, especially its version of Xiao Ling. The purpose of this thesis is to arouse more attention to Xiao Ling's translation. Referring to Xu Yuanchong's poetry translation theory and Chinese traditional poetics and aesthetics, and combining Newmark's translation theory with other translators, the author gives the translation of some representative Xiao Ling and other translators (Xu Yuanchong). The purpose of this paper is to find a better translation method for Xiao Ling. The main results of this thesis are as follows: for the translation of Xiao Ling, The beauty of artistic conception is a key part of the beauty of meaning (referring to Xu Yuanchong's "the three Beauties"), and the translator should be acutely aware of the artistic conception hidden under the intention and strive to reproduce the artistic conception in the translation. If necessary, the translator has reason to change the specific terms of the original poem. In general, the language of Xiao Ling is elegant and elegant. In order to reproduce the beauty of artistic conception, this delicate style of wording should be preserved. Beauty of voice and beauty of form are also important. The translator should strike a proper balance between the three. As for Xiao Ling of the popular School, this paper studies the translation of Xu Yuanchong and Koo Zhengkun, and finds that neither of them has paid enough attention to the style characteristics of the original poem, especially the latter. No matter what the actual situation of the original poem, Koo tends to use elegant style. This approach is debatable, because the loss of the style of the original poem also means destroying its beauty. Therefore, the author adds the fourth beauty, that is, style beauty, to Xu Yuanchong's Triple Beauty. The author hopes that more attention will be paid to the reproduction of the original poetic style, especially the colloquial style of Xiao Ling.
【学位授予单位】：浙江大学
【学位级别】：硕士
【学位授予年份】：2007
【分类号】：H315.9;I046

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