异国情调的美：翻译美学—诗歌翻译的出路
发布时间：2018-11-21 11:58
【摘要】： 翻译的跨学科性已经成为译界普遍接受的趋势。心理学、社会学、人类学、语言学等学科不断被纳入翻译研究的学术范围。美学，作为翻译学最新的联姻对象，正受到越来越多的学者与翻译研究工作者的关注。综观中外翻译研究历史，翻译与美学之间都有着深远的渊源，随着对翻译艺术性的越来越高的要求，美学必然要以其成熟的理论依据及评判标准成为翻译尤其是文学翻译研究不可或缺的理论及实践支持。 诗歌翻译可谓文学翻译的珠穆朗玛，令无数译者望而却步。其高度精练而内蕴丰富的语言，严谨而又优美的韵律，极富想象力的修辞手法，对译者的文字功底，文化积累以及文学艺术的敏感的鉴赏能力都是极大的考验，任何译者在面对诗歌翻译时似乎都显得力不从心。于是出现了诗歌不可译的说法，认为诗歌一经翻译必失其本貌，尤其是中国古代诗歌。尽管如此，从上世纪初至今，无数中外翻译家和诗人仍努力尝试汉诗英译，随之也产生了一系列相关争论，焦点无外乎形与神，散体与韵体，以及归化与异化的孰轻孰重。这种执着于翻译技巧的僵化标准以及二选一的思维定式把诗歌翻译带入一个死胡同，难于有大的突破。引入美学理论后，翻译不再是技术性的转化，而成为艺术性的创作。在中国，诗歌与书法，绘画是同根同源的艺术类型，有极高的美学价值：包括诗本身的词义，音韵，节奏以及深远的意境，更重要的是其无处不体现着中国传统美学的价值观，平衡的，自然的，隐晦而模糊的美。这些都是古诗词作为艺术品所不能磨灭的美学价值。因此，译者当从审美角度重新审视诗歌翻译，把诗歌翻译当作美的艺术再现。 本文旨在打破长期以来诗歌翻译的僵化模式，运用翻译美学理论把诗歌翻译提升到艺术创作层面，从而为之提供新的思路和方法。在传统的动态对等与功能对等理论基础上提出美学对等理论，并在实际应用中以诗歌的异国美取代文化空缺所带来的遗憾，从而解放诗歌翻译的语言文化束缚。如此，异化不仅不会妨碍交流，反而会在保留我们民族文化特点的同时引起外国读者的兴趣。 把翻译美学应用于诗歌翻译，我们的古典诗歌才得以延续其艺术生命，，我们的诗文化才得以发扬。 本文并未提出具体的美学标准，因为诗歌的目的和作用之一就是激发读者的不同想象和反应。所以诗歌翻译提升到艺术水平以后，也不能被统一标准所限制，而应提倡百花齐放的学术氛围，为诗歌翻译提供自由发展的空间和环境。 在二十一世纪的今天，经济全球化带动了文化全球化。随着中西文化交流的日益深入，西方读者对中国文化有了更多的了解，尤其是2008年中国将举办奥运会，更促使中国文化走向世界。我们的翻译工作者应抓住机遇，复兴并发扬中国传统文化。正如许渊冲教授所说：“中国文学翻译工作者对世界文化应尽的责任，就是把一部分外国文化的血液，灌输到中国文化中来，同时把一部分中国文化的血液灌输到世界文化中去，使世界文化越来越丰富，越来越光辉灿烂。”
[Abstract]:The interdisciplinary nature of translation has become a generally accepted trend in the translation community. The subjects of psychology, sociology, anthropology, and linguistics are constantly being included in the academic scope of translation studies. Aesthetics, as the most recent marriage object of translation, is being paid more attention by more and more scholars and translation researchers. The research history, translation and aesthetics of the Chinese and foreign translation studies have a far-reaching origin. With the increasing demands of the art of translation, the aesthetics must be the necessary theoretical and practical support for the translation of the translation, especially the literary translation. The translation of poetry is a literary translation of Mount Everest. The translator is in a difficult position. It is highly refined and has rich language, strict and beautiful rhythm, and rich imagination, which is sensitive to the translator's writing skills, cultural accumulation and literary and art. It's a great test, and any translator appears to be in the face of poetry translation The expression of the non-translation of the poem shows that once the poem is translated, it will lose its face, and in particular, However, from the beginning of the last century to the present, numerous Chinese and foreign translators and poets have tried to translate the English poetry into English, and then a series of related arguments have been produced, the focus of which is of the shape and the God, the dispersion and the rhyme, and the domestication and The one of the dissimilation, the rigid standard of the translation skill and the thinking of the second one, bring the translation of the poetry into a dead end. It is difficult to make a big breakthrough. After the introduction of the aesthetic theory, the translation is no longer a technical transformation, and In China, poetry and calligraphy, painting are the art types of the same root, and have very high aesthetic value: including the meaning of the poem itself, the phonology, the rhythm and the far-reaching artistic conception, and more importantly, it has nowhere to embody the values of Chinese traditional aesthetics. balanced, natural, A vague and fuzzy beauty. These are ancient poems that can't be used as art. An indelible aesthetic value. Therefore, when the translator reexamines the translation of the poem from the aesthetic point of view, the translator translates the poetry into The purpose of this paper is to break the rigid pattern of the translation of poetry for a long time, and to promote the translation of poetry to the artistic creation by using the theory of translation aesthetics. On the basis of the traditional dynamic peer-to-peer and functional peer-to-peer theory, the paper puts forward the theory of aesthetics, and, in the practical application, replaces the cultural vacancy with the foreign beauty of the poetry, Therefore, the dissimilation will not only hinder the exchange, but instead will retain our national language. The characteristics of translation and the interest of foreign readers. The application of translation aesthetics to the translation of poetry, our classical poetry The song is only allowed to continue its artistic life, and the culture of our poetry is carried forward. The aesthetic standard, because one of the purpose and function of the poem is to stimulate the reader's different imagination and reaction, so the poetry translation can not be restricted by the unified standard after the translation of the poetry is improved to the artistic level, It should promote the academic atmosphere and provide free hair for the translation of poetry. The space and environment of the exhibition. In the twenty-first century, the economic globalization has driven the globalization of the culture. With the deepening of the communication between the Chinese and the West, the readers of the west The country culture has more understanding, especially in 2008 China will host the Olympics 浼
本文编号：2346899
[Abstract]:The interdisciplinary nature of translation has become a generally accepted trend in the translation community. The subjects of psychology, sociology, anthropology, and linguistics are constantly being included in the academic scope of translation studies. Aesthetics, as the most recent marriage object of translation, is being paid more attention by more and more scholars and translation researchers. The research history, translation and aesthetics of the Chinese and foreign translation studies have a far-reaching origin. With the increasing demands of the art of translation, the aesthetics must be the necessary theoretical and practical support for the translation of the translation, especially the literary translation. The translation of poetry is a literary translation of Mount Everest. The translator is in a difficult position. It is highly refined and has rich language, strict and beautiful rhythm, and rich imagination, which is sensitive to the translator's writing skills, cultural accumulation and literary and art. It's a great test, and any translator appears to be in the face of poetry translation The expression of the non-translation of the poem shows that once the poem is translated, it will lose its face, and in particular, However, from the beginning of the last century to the present, numerous Chinese and foreign translators and poets have tried to translate the English poetry into English, and then a series of related arguments have been produced, the focus of which is of the shape and the God, the dispersion and the rhyme, and the domestication and The one of the dissimilation, the rigid standard of the translation skill and the thinking of the second one, bring the translation of the poetry into a dead end. It is difficult to make a big breakthrough. After the introduction of the aesthetic theory, the translation is no longer a technical transformation, and In China, poetry and calligraphy, painting are the art types of the same root, and have very high aesthetic value: including the meaning of the poem itself, the phonology, the rhythm and the far-reaching artistic conception, and more importantly, it has nowhere to embody the values of Chinese traditional aesthetics. balanced, natural, A vague and fuzzy beauty. These are ancient poems that can't be used as art. An indelible aesthetic value. Therefore, when the translator reexamines the translation of the poem from the aesthetic point of view, the translator translates the poetry into The purpose of this paper is to break the rigid pattern of the translation of poetry for a long time, and to promote the translation of poetry to the artistic creation by using the theory of translation aesthetics. On the basis of the traditional dynamic peer-to-peer and functional peer-to-peer theory, the paper puts forward the theory of aesthetics, and, in the practical application, replaces the cultural vacancy with the foreign beauty of the poetry, Therefore, the dissimilation will not only hinder the exchange, but instead will retain our national language. The characteristics of translation and the interest of foreign readers. The application of translation aesthetics to the translation of poetry, our classical poetry The song is only allowed to continue its artistic life, and the culture of our poetry is carried forward. The aesthetic standard, because one of the purpose and function of the poem is to stimulate the reader's different imagination and reaction, so the poetry translation can not be restricted by the unified standard after the translation of the poetry is improved to the artistic level, It should promote the academic atmosphere and provide free hair for the translation of poetry. The space and environment of the exhibition. In the twenty-first century, the economic globalization has driven the globalization of the culture. With the deepening of the communication between the Chinese and the West, the readers of the west The country culture has more understanding, especially in 2008 China will host the Olympics 浼
本文编号：2346899
本文链接：https://www.wllwen.com/wenyilunwen/wenxuell/2346899.html
