从符号学角度看《诗经》意象的英译
发布时间：2018-10-09 11:11
【摘要】：本文从符号学理论视角出发,比较了理雅各、韦利、许渊冲和庞德分别翻译的《诗经》中的意象,旨在探讨意象翻译中意义的传达问题。 为了便于操作和分析意象及其翻译,在研究过程中,本文将《诗经》意象的翻译分为三类：一,在翻译过程中“消失”的意象；二,在翻译过程中“变换”的意象；三,在翻译过程中“不变”的意象。其中,“消失”的意象是指那些在翻译中被译者用一般用语而非意象所替换的意象；其他两种意象仍被翻译为意象——“变换”的意象是指那些在翻译过程中指称意义发生了变化的意象；“不变”的意象是指那些指称意义未发生变化的意象。 作为一种文学表现手法,意象具有一定的特殊性：它与人们的联想、情感表达与唤起,以及想象紧密相连。所以,其意义的解读也在很大程度上依赖于解读者,依赖于解读者所拥有的某种知识以及抽象思维。同时,意象所指称的对象并非意象手法的核心所在。因此,意象翻译具有一定的特殊性。在翻译过程中,原语读者与译语读者之间的差异需要得到译者的重视；在传达意义时,译者也应该把意象的核心意义及作用置于重要位置。 通过符号学分析,不难发现,在意象翻译中,语用意义是核心。在翻译过程中,意象的“消失”有时是可行且必要的：译者选择用非意象形式的语言传递意象的语用意义,不得已而牺牲了意象的形式；但是,当可以在正确传达语用意义的同时保有意象的形式时,这种牺牲则是不理想的。意象的“改换”现象也有积极和消极之分,有时是译者为传达意象的语用意义或保留原诗的主旨而牺牲原有意象指称意义的不得已选择,有时则是译者误解了原有意象的意义而做出的错误决定。在翻译中选择“不变”意象也不一定是明智之举：拥有相同指称意义的原语意象和译语意象有时在语用意义上存在差别,因而原语意象的语用意义在翻译中容易被扭曲；但是如果有较为理想的方式来翻译意象,保证意象的语用意义和指称意义均得以恰当传达,则“不变”仍是最佳选择。 本文所探索的是意象翻译过程中的意义传达问题,这也是意象翻译实践中的核心问题所在。相对于关注诗歌翻译中的形式、音韵重现而言,对意义传达问题的关注更贴近翻译的本质。诗歌翻译中的意义传达是诗歌之美和文学性的传达最重要的一步。对于《诗经》这样一部中华民族的伟大瑰宝而言,要将它的文化价值和文学美传递给他国的人们离不开对其意义的深刻理解和正确传达。在此过程中,意象翻译研究和实践的提升无疑有着重要的意义。
[Abstract]:From the perspective of semiotics this paper compares the images in the Book of songs translated by James Willie Xu Yuanchong and pound in order to explore the communication of meaning in image translation. In order to facilitate the manipulation and analysis of images and their translation, this paper divides the translation of the Book of songs into three categories: first, the images that "disappear" in the process of translation; secondly, the images of "transformation" in the process of translation; The image of "invariance" in the process of translation. Among them, the image of "disappear" refers to those images which are replaced by the translator in translation with general terms rather than images; The other two images are still translated as images the images of "transformation" refer to the images in which the referential meaning has changed in the course of translation, and the "immutable" images refer to the images whose referential meanings have not changed. As a literary expression, image has its own particularity: it is closely related to people's association, emotional expression and arousal, and imagination. Therefore, the interpretation of its meaning depends to a great extent on the understanding of the reader, the understanding of the reader's knowledge and abstract thinking. At the same time, the object referred to by image is not the core of image technique. Therefore, image translation has its own particularity. In the process of translation, the differences between the readers of the source language and the target language need to be taken seriously by the translator, and the translator should put the core meaning and function of the image in the important position when communicating the meaning. Through semiotic analysis, it is not difficult to find that pragmatic meaning is the core in image translation. In the process of translation, the "disappearance" of images is sometimes feasible and necessary: the translator chooses to convey the pragmatic meaning of images in non-image language and sacrifices the form of images. Such sacrifice is not ideal when the pragmatic meaning can be correctly conveyed while preserving the form of image. There are also positive and negative aspects of the change of images. Sometimes the translator has to sacrifice the referential meaning of the original image to convey the pragmatic meaning of the image or to retain the main theme of the original poem. Sometimes it is the translator who misunderstands the meaning of the original image. It is not always wise to choose "invariant" image in translation: the original image with the same referential meaning and the target language image are sometimes different in pragmatic meaning, so the pragmatic meaning of the original image is easily distorted in translation; However, if there is an ideal way to translate images and ensure that the pragmatic and referential meanings of images are properly conveyed, "invariance" is still the best choice. This paper explores the problem of meaning communication in the process of image translation, which is also the core problem in the practice of image translation. Rather than focusing on the form in poetry translation, phonological reproduction is closer to the essence of translation. Meaning communication in poetry translation is the most important step of poetry beauty and literariness communication. As for the great treasure of the Chinese nation, the people who want to pass on its cultural value and literary beauty to other countries cannot leave the profound understanding and correct communication of its meaning. In this process, there is no doubt that the study of image translation and the promotion of practice are of great significance.
【学位授予单位】：南京大学
【学位级别】：硕士
【学位授予年份】：2012
【分类号】：H315.9;I046
本文编号：2259124
[Abstract]:From the perspective of semiotics this paper compares the images in the Book of songs translated by James Willie Xu Yuanchong and pound in order to explore the communication of meaning in image translation. In order to facilitate the manipulation and analysis of images and their translation, this paper divides the translation of the Book of songs into three categories: first, the images that "disappear" in the process of translation; secondly, the images of "transformation" in the process of translation; The image of "invariance" in the process of translation. Among them, the image of "disappear" refers to those images which are replaced by the translator in translation with general terms rather than images; The other two images are still translated as images the images of "transformation" refer to the images in which the referential meaning has changed in the course of translation, and the "immutable" images refer to the images whose referential meanings have not changed. As a literary expression, image has its own particularity: it is closely related to people's association, emotional expression and arousal, and imagination. Therefore, the interpretation of its meaning depends to a great extent on the understanding of the reader, the understanding of the reader's knowledge and abstract thinking. At the same time, the object referred to by image is not the core of image technique. Therefore, image translation has its own particularity. In the process of translation, the differences between the readers of the source language and the target language need to be taken seriously by the translator, and the translator should put the core meaning and function of the image in the important position when communicating the meaning. Through semiotic analysis, it is not difficult to find that pragmatic meaning is the core in image translation. In the process of translation, the "disappearance" of images is sometimes feasible and necessary: the translator chooses to convey the pragmatic meaning of images in non-image language and sacrifices the form of images. Such sacrifice is not ideal when the pragmatic meaning can be correctly conveyed while preserving the form of image. There are also positive and negative aspects of the change of images. Sometimes the translator has to sacrifice the referential meaning of the original image to convey the pragmatic meaning of the image or to retain the main theme of the original poem. Sometimes it is the translator who misunderstands the meaning of the original image. It is not always wise to choose "invariant" image in translation: the original image with the same referential meaning and the target language image are sometimes different in pragmatic meaning, so the pragmatic meaning of the original image is easily distorted in translation; However, if there is an ideal way to translate images and ensure that the pragmatic and referential meanings of images are properly conveyed, "invariance" is still the best choice. This paper explores the problem of meaning communication in the process of image translation, which is also the core problem in the practice of image translation. Rather than focusing on the form in poetry translation, phonological reproduction is closer to the essence of translation. Meaning communication in poetry translation is the most important step of poetry beauty and literariness communication. As for the great treasure of the Chinese nation, the people who want to pass on its cultural value and literary beauty to other countries cannot leave the profound understanding and correct communication of its meaning. In this process, there is no doubt that the study of image translation and the promotion of practice are of great significance.
【学位授予单位】：南京大学
【学位级别】：硕士
【学位授予年份】：2012
【分类号】：H315.9;I046
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