从格式塔意象再造理论来看古诗英译
发布时间：2019-05-19 22:20
【摘要】： 当前中国古诗英译的多元互补的局面推动了诗歌翻译理论的发展。但重视诗歌语言形式而忽略译诗整体美、重视文本对比而(?)视译者主体性的弊病依然存在,阻止了诗歌翻译的进一步发展。 鉴于此,本文试图运用格式塔意象再造理论来分析古诗英译,指出古诗英译的重点在于格式塔意象再造以解决诗歌翻译中重形式而轻整体、重文本而轻人本的弊端。“格式塔”一词原是德文“Gestalt”的中文音译,意为“完形”。即人在视知觉过程中,总是会自然而然地有一种追求事物的结构整体性或完形性的特点。格式塔意象再造理论由姜秋霞提出,她认为,从美学角度看,成功的文学翻译在于成功的格式塔意象再造。这一模式通过引入格式塔意象作为一个中介图式来连接文本解读和翻译,既能解决文本与译本间机械对应问题,又肯定了译者的能动作用。本研究将运用此理论来研究古诗英译,从三个方面对古诗英译进行分析。 首先,本文指出格式塔意象普遍存在于中国古典诗歌中。这正是运用格式塔意象再造模式分析古诗英译的前提。 其次,本文将对中国古典诗歌的翻译过程进行探讨。格式塔意象再造理论可分为两步,第一步:心理实现,这是译前理解过程。人类会对生活中不完整的事物进行完形、填充,使之趋于完整。在诗歌阅读过程中译者会结合自己的审美经验,对诗歌表现出的意义进行重组,并对未能明言的部分进行填补,使之成为一个完整的图像,进而得出格式塔意象。 第二步:语言实现,即译文的生成过程。在这一过程中,译者通过分析意象和意象组合来重构格式塔意象,从而完成语言实现。在创作中,诗人多根据思想感情,将意象作有机排列,采用脱节,并置和叠加的方式来组织意象,从而实现“比各部分相加之和的价值”大得多的“整体价值”,即格式塔意象。因此译者在翻译过程中应真实地再现意象的象征意义和意象组合,从而有效地传递诗人的审美体验。 同时,必须看到,译者和原文文本制约着格式塔意象的再造。一方面,译者具有主体性,他未必能够完全感受到原作者的审美体验;另一方面,原文文本存在着不确定性。因此格式塔意象再造只能通过译者与原文文本的相互作用才能最终完成。 本研究表明,在古诗英译中,格式塔意象再造模式有助于诗歌译文结构的自然和谐;有助于诗歌译作中原作者审美体验的传递;对诗歌翻译中译者主体性的研究有一定启示意义。
[Abstract]:At present, the pluralistic and complementary situation of the translation of ancient Chinese poetry promotes the development of poetry translation theory. However, we attach importance to the language form of poetry and ignore the overall beauty of translating poetry, and attach importance to the contrast of texts. The disadvantages of translator's subjectivity still exist, which prevent the further development of poetry translation. In view of this, this paper attempts to analyze the translation of ancient poetry into English by using the theory of Gestalt image reconstruction, and points out that the emphasis of the translation of ancient poetry lies in the reconstruction of Gestalt image in order to solve the disadvantages of emphasizing form rather than the whole and emphasizing text rather than humanism in poetry translation. The word "Gestalt" was originally a Chinese transliteration of German "Gestalt", meaning "cloze". That is, in the process of visual perception, people always naturally have a characteristic of pursuing the structural integrity or closeness of things. The theory of Gestalt image reconstruction was put forward by Jiang Qiuxia. She believes that from an aesthetic point of view, successful literary translation lies in the successful Gestalt image reconstruction. By introducing Gestalt image as an intermediary schema to connect text interpretation and translation, this model can not only solve the problem of mechanical correspondence between the text and the translation, but also affirm the dynamic role of the translator. This study will use this theory to study the translation of ancient poetry into English and analyze the translation of ancient poetry from three aspects. First of all, this paper points out that Gestalt images generally exist in Chinese classical poetry. This is the premise of using Gestalt image reconstruction model to analyze the translation of ancient poetry into English. Secondly, this paper will discuss the translation process of Chinese classical poetry. Gestalt image reconstruction theory can be divided into two steps, the first step: psychological realization, which is the process of pre-translation understanding. Human beings will cloze, fill and make the incomplete things in life become complete. In the process of poetry reading, the translator will combine his own aesthetic experience, reorganize the meaning of poetry, and fill up the unspoken part, so that it can become a complete image, and then get the Gestalt image. The second step: language implementation, that is, the generation process of translation. In this process, the translator reconstructs the Gestalt image by analyzing the image and the combination of image, so as to complete the language realization. In his creation, the poet arranges the images organically according to his thoughts and feelings, and organizes the images by disconnection, juxtaposition and superposition, so as to realize the "overall value" of "much greater value than the sum of the various parts". That is, the image of Gestalt. Therefore, the translator should truly reproduce the symbolic meaning and image combination of the image in the process of translation, so as to effectively convey the poet's aesthetic experience. At the same time, it must be noted that the translator and the original text restrict the reconstruction of Gestalt images. On the one hand, the translator has subjectivity, he may not be able to fully feel the aesthetic experience of the original author; on the other hand, there is uncertainty in the original text. Therefore, the reconstruction of Gestalt image can only be completed through the interaction between the translator and the original text. This study shows that in the English translation of ancient poetry, the Gestalt image reconstruction model is helpful to the natural harmony of the poetry translation structure and to the transmission of the aesthetic experience of the Central Plains authors in the poetry translation. It is of great significance to the study of translator's subjectivity in poetry translation.
【学位授予单位】：广东外语外贸大学
【学位级别】：硕士
【学位授予年份】：2009
【分类号】：I046;H315.9
本文编号：2481111
[Abstract]:At present, the pluralistic and complementary situation of the translation of ancient Chinese poetry promotes the development of poetry translation theory. However, we attach importance to the language form of poetry and ignore the overall beauty of translating poetry, and attach importance to the contrast of texts. The disadvantages of translator's subjectivity still exist, which prevent the further development of poetry translation. In view of this, this paper attempts to analyze the translation of ancient poetry into English by using the theory of Gestalt image reconstruction, and points out that the emphasis of the translation of ancient poetry lies in the reconstruction of Gestalt image in order to solve the disadvantages of emphasizing form rather than the whole and emphasizing text rather than humanism in poetry translation. The word "Gestalt" was originally a Chinese transliteration of German "Gestalt", meaning "cloze". That is, in the process of visual perception, people always naturally have a characteristic of pursuing the structural integrity or closeness of things. The theory of Gestalt image reconstruction was put forward by Jiang Qiuxia. She believes that from an aesthetic point of view, successful literary translation lies in the successful Gestalt image reconstruction. By introducing Gestalt image as an intermediary schema to connect text interpretation and translation, this model can not only solve the problem of mechanical correspondence between the text and the translation, but also affirm the dynamic role of the translator. This study will use this theory to study the translation of ancient poetry into English and analyze the translation of ancient poetry from three aspects. First of all, this paper points out that Gestalt images generally exist in Chinese classical poetry. This is the premise of using Gestalt image reconstruction model to analyze the translation of ancient poetry into English. Secondly, this paper will discuss the translation process of Chinese classical poetry. Gestalt image reconstruction theory can be divided into two steps, the first step: psychological realization, which is the process of pre-translation understanding. Human beings will cloze, fill and make the incomplete things in life become complete. In the process of poetry reading, the translator will combine his own aesthetic experience, reorganize the meaning of poetry, and fill up the unspoken part, so that it can become a complete image, and then get the Gestalt image. The second step: language implementation, that is, the generation process of translation. In this process, the translator reconstructs the Gestalt image by analyzing the image and the combination of image, so as to complete the language realization. In his creation, the poet arranges the images organically according to his thoughts and feelings, and organizes the images by disconnection, juxtaposition and superposition, so as to realize the "overall value" of "much greater value than the sum of the various parts". That is, the image of Gestalt. Therefore, the translator should truly reproduce the symbolic meaning and image combination of the image in the process of translation, so as to effectively convey the poet's aesthetic experience. At the same time, it must be noted that the translator and the original text restrict the reconstruction of Gestalt images. On the one hand, the translator has subjectivity, he may not be able to fully feel the aesthetic experience of the original author; on the other hand, there is uncertainty in the original text. Therefore, the reconstruction of Gestalt image can only be completed through the interaction between the translator and the original text. This study shows that in the English translation of ancient poetry, the Gestalt image reconstruction model is helpful to the natural harmony of the poetry translation structure and to the transmission of the aesthetic experience of the Central Plains authors in the poetry translation. It is of great significance to the study of translator's subjectivity in poetry translation.
【学位授予单位】：广东外语外贸大学
【学位级别】：硕士
【学位授予年份】：2009
【分类号】：I046;H315.9
【引证文献】
相关期刊论文 前1条
1 李彤;;从英译《宿建德江》看译者的创造性叛逆[J];南昌教育学院学报;2010年05期
相关硕士学位论文 前1条
1 付玉珊;格式塔理论视角下《诗经》翻译的情感传达[D];苏州大学;2012年
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