由阐释学和接受美学观意象翻译
发布时间：2018-08-05 13:11
【摘要】：本文旨在探讨意象翻译的审美接受,并运用中西诗学、翻译理论和接受美学理论,对唐诗意象进行不同层面的剖析。 意象乃诗歌之灵魂,籍精炼简隽语言而将读者引入一个广阔的遐想的空间。其实质不仅在于主观情意与客观物景契合交融,更在于创造“象外之意”、“意在言外”。意象既展示诗人丰富内心世界,又寓抽象模糊之义于具体丰腴物象。具有题外之旨和强烈艺术召唤力。 本文认为,意象之美归因于其模糊的不确定性,为读者提供广袤无垠的可想象、联想和再创造的空间。由于不同文化背景、不同的思维模式和审美接受,对于同一意象,另类文化的读者和译者具有相异的阐释和具体化。 依据接受美学与接受理论的观点:一千个读者,便会有一千个Hamlet,同理,一千个译者也会有一千个Hamlet。因为译者首先必须是读者,而且是深层次的读者。但不管有多少个Hamlet,其中最像原文Hamlet的毕竟只有一个,本人以为依据接受美学与接受理论的观点,翻译中的意象保留最完整的译文,便是最佳译文。因为读者在接受过程中可以凭借最完整的意象,得到最佳审美享受,或最接近原文意象和意境的审美享受,从而使读者在译者留下的最大想象空间中任凭想象的羽翼展翅飞翔。 作为经典艺术瑰宝,唐诗充满浓郁的意象,享“诗中有画”之誉,其语言具有中华民族文化的丰厚的积淀,而唐诗翻译作为对另种语言的理解和阐释在翻译中往往会因文化的介入而造成了翻译的缺憾或误读。签于此,本文提出了并论证了唐诗意象的阐释与翻译问题。 本文首先总结中西诗学的意象翻译的观点,然后依据中西诗学和阐释学对中西文化进行了对比和比较,强调文本的开放性和读者的积极参与作用。将接受美学应用于唐诗意象的翻译,提倡许渊冲的译诗“三美”策略并进行实证。本文在结论中重申了阐释学和接受美学重要性。 意象乃中西诗学共同审美追求,本文冀寻意象以搭起中西文学沟通之桥。
[Abstract]:This paper aims to explore the aesthetic acceptance of image translation, and to analyze the images of Tang poetry from different perspectives by applying Chinese and Western poetics, translation theory and reception aesthetics.
Image is the soul of poetry, which is refined by concise language to introduce readers to a wide space of imagination. In fact, the essence is not only the combination of subjective feelings and objective objects, but also the creation of "the meaning of the elephant" and "out of words". There is a tenor and a strong artistic summon power.
This article holds that the beauty of image is attributable to its vague uncertainty, providing the reader with a vast expanse of imagination, association and recreation. Because of different cultural backgrounds, different modes of thinking and aesthetic acceptance, the readers and translators of the same image and alternative culture have different interpretations and concretions.
According to the view of reception aesthetics and acceptance theory: one thousand readers, there will be one thousand Hamlet, and one thousand translators will have one thousand Hamlet. because the translator must first be the reader and the deeper reader. However, no matter how many Hamlet, the most like the original Hamlet is only one, I think it is based on the reception aesthetics. In the view of the reception theory, the most complete translation of the image in the translation is the best translation, because the reader can get the best aesthetic enjoyment, or the most close to the aesthetic enjoyment of the original image and artistic conception by virtue of the most complete image in the process of acceptance, so that the reader will leave the imaginary wing in the most imaginative space left by the translator. Wings fly.
As a classic art treasure, Tang poetry is full of rich images and enjoys the reputation of "painting in painting", and its language has a rich accumulation of Chinese culture, and the translation of Tang poetry, as an understanding and interpretation of the other language, often causes the defects or misunderstandings of translation in translation. The interpretation and translation of the image of the Tang poetry.
This article first summarizes the idea of image translation in Chinese and Western poetics, then compares and compares the Chinese and Western cultures with Chinese and Western poetics and hermeneutics, emphasizes the openness of the text and the active participation of the readers. It applies the aesthetics of reception to the translation of the image of the Tang poetry, and advocates the strategy of "three beauty" in Xu Yuanchong's poetry and carries out an empirical study. The conclusion reiterates the importance of Hermeneutics and reception aesthetics.
Image is the common aesthetic pursuit of Chinese and Western poetics. This article aims to find images to bridge the bridge of communication between Chinese and Western literature.
【学位授予单位】：安徽大学
【学位级别】：硕士
【学位授予年份】：2005
【分类号】：I046
本文编号：2165897
[Abstract]:This paper aims to explore the aesthetic acceptance of image translation, and to analyze the images of Tang poetry from different perspectives by applying Chinese and Western poetics, translation theory and reception aesthetics.
Image is the soul of poetry, which is refined by concise language to introduce readers to a wide space of imagination. In fact, the essence is not only the combination of subjective feelings and objective objects, but also the creation of "the meaning of the elephant" and "out of words". There is a tenor and a strong artistic summon power.
This article holds that the beauty of image is attributable to its vague uncertainty, providing the reader with a vast expanse of imagination, association and recreation. Because of different cultural backgrounds, different modes of thinking and aesthetic acceptance, the readers and translators of the same image and alternative culture have different interpretations and concretions.
According to the view of reception aesthetics and acceptance theory: one thousand readers, there will be one thousand Hamlet, and one thousand translators will have one thousand Hamlet. because the translator must first be the reader and the deeper reader. However, no matter how many Hamlet, the most like the original Hamlet is only one, I think it is based on the reception aesthetics. In the view of the reception theory, the most complete translation of the image in the translation is the best translation, because the reader can get the best aesthetic enjoyment, or the most close to the aesthetic enjoyment of the original image and artistic conception by virtue of the most complete image in the process of acceptance, so that the reader will leave the imaginary wing in the most imaginative space left by the translator. Wings fly.
As a classic art treasure, Tang poetry is full of rich images and enjoys the reputation of "painting in painting", and its language has a rich accumulation of Chinese culture, and the translation of Tang poetry, as an understanding and interpretation of the other language, often causes the defects or misunderstandings of translation in translation. The interpretation and translation of the image of the Tang poetry.
This article first summarizes the idea of image translation in Chinese and Western poetics, then compares and compares the Chinese and Western cultures with Chinese and Western poetics and hermeneutics, emphasizes the openness of the text and the active participation of the readers. It applies the aesthetics of reception to the translation of the image of the Tang poetry, and advocates the strategy of "three beauty" in Xu Yuanchong's poetry and carries out an empirical study. The conclusion reiterates the importance of Hermeneutics and reception aesthetics.
Image is the common aesthetic pursuit of Chinese and Western poetics. This article aims to find images to bridge the bridge of communication between Chinese and Western literature.
【学位授予单位】：安徽大学
【学位级别】：硕士
【学位授予年份】：2005
【分类号】：I046
【引证文献】
相关硕士学位论文 前2条
1 刘华湘;从顺应论看中国古典诗歌意象的翻译[D];首都师范大学;2011年
2 黄河清;从跨文化角度看中国古典诗歌意象的翻译[D];上海外国语大学;2009年
，本文编号：2165897
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