中国古典诗歌的意象英译研究 ——帕尔默文化语言学视角

论文摘要

中国古典诗歌英译已有百年以上的历史,在此实践基础上诗歌翻译研究者们主要从三种途径对诗歌翻译进行了研究,即语言学途径,文化途径和诗学途径。本文立足帕尔莫文化语言学理论,结合语言和文化因素,对中国古典诗歌英译中的意象翻译进行研究。帕尔莫在其书Toward a Theory of Cultural Linguistics(1996)中,将认知语言学同语言人类学的三个传统分支,即波厄斯派语言学、人类语义学及言语人类学相结合,提出了文化语言学作为研究语言的新途径。该书一大突出特点就是将意象重新作为研究重点。意象一词不但包括视觉意象,也包括我们从其他感觉器官所获取来的各种具体意象,同时它还包含了同具体意象相关的,但更为抽象的认知概念,如图式及事物摹本等。文化语言学就其根本而言,是关于意象的理论。它试图通过各种相关意象来研究人们是如何使用并理解语言的。该理论认为,语言是语言符号基于意象的排列,而意象实际上又是由文化决定的。意象、语言、文化及三者之间的关系构成了文化语言学的核心。诗歌是语言的精华,而意象是诗歌的灵魂。意象的传译是古诗英译中传达“意美”的关键。本文立足帕尔莫文化语言学理论,以中国古典诗歌的英译为蓝本,对英译中国古典诗词中意象的可译性,翻译原则和策略进行了系统的研究,研究结果表明在翻译中国古典诗歌的意象时应遵循意义对等和意象审美功能对等的原则,充分考虑译入语文化的接受程度,在传播中华文化与译本的广泛接受之间找到最佳的平衡点。

论文目录

• 摘要
• Abstract
• ACKNOWLEDGEMENTS
• 1. Chapter One: Introduction
• 1.1 Background of the Present Study
• 1.2 Significance of the Present Study
• 1.3 The Layout of the Thesis
• 2. Chapter Two: Literature Review
• 2.1 Theoretical Basis for Cultural Linguistics
• 2.1.1 Linguistic Anthropology
• 2.1.1.1 Boasian Linguistics
• 2.1.1.2 Ethnosemantics
• 2.1.2 Cognitive Linguistics
• 2.2 The Key Concept of Cultural Linguistics——Imagery
• 2.2.1 Images
• 2.2.2 Schema
• 2.2.3 Script and Scenario
• 2.3 Relationship Between Language, Culture and Imagery
• 2.3.1 Imagery in Abstract Category
• 2.3.2 Imagery in Specific Category
• 3. Chapter Three: Significance of Applying Imagery to The Study of Chinese Classical Poetry and Its English Versions
• 3.1 Cultural Disparities and Imagery
• 3.1.1 Comparative Study of Chinese Culture and English Culture
• 3.1.1.1 People and Nature
• 3.1.1.2 The Self Concept
• 3.1.1.3 Thinking in Images
• 3.1.2 Cultural Disparities Reflected on Imagery
• 3.2 Influence of Musical Feature of Poetry on Imagery
• 4. Chapter Four: Translatability and Untranslatability of Imagery in Chinese Classical Poetry
• 4.1 Translatability of Chinese Classical Poetry
• 4.2 Factors that Contribute to the Translatability of Imagery
• 4.2.1 Common Convention of Adopting Imagery in Poetry in Chinese and Western Poetic Circles
• 4.2.2 Influence of Imagism upon the Western and Chinese Poetic Circles
• 4.3 Untranslatable Cultural Elements in Imagery Translation
• 5. Chapter Five: Principles and Strategies for The Translation of Imagery in Chinese Classical Poetry
• 5.1 Three Levels of Translation
• 5.2 Transference of Mental Images in Poetry Translation
• 5.3 Translating Imagery at the Semantic Level
• 5.3.1 The Principle of Semantic Equivalence
• 5.3.2 Strategies for the Translation of Imagery at the Semantic Level
• 5.3.2.1 Preserving the Original Image
• 5.3.2.2 Substituting the Original Image
• 5.3.2.3 Omitting the Images
• 5.4 Translating Imagery at the Aesthetic Level
• 5.4.1 The Principle of Equivalence in Aesthetic Function
• 5.4.2 The Sensuous Beauty of Imagery and Its Transference
• 5.4.2.1 The Picturesque Beauty and Its Transference
• 5.4.2.2 The Stereoscopic Beauty and Its Transference
• 5.4.2.3 The Integrated Dynamic and Static Beauty and Its Transference
• 5.4.2.4 The Beauty of Montage and Its Transference
• 6. Chapter Six: Conclusion
• 6.1 Major Findings
• 6.2 Limitations
• 6.3 Suggestions for Further Study
• Note
• References