图形—背景视域下唐诗的英译方法分析
南华大学, 语言文学学院, 湖南衡阳 421200
| 摘 要： | 古诗是中华古典文化特有的表达方式，其丰富的内涵往往在目标语文化体系中缺乏对应的表达形式。意境是古诗的灵魂，许多意境都是通过具体的图形和背景关系呈现的。本文基于图形—背景理论，选取唐诗及许渊冲的英译本为研究对象，运用Aixelá提出的十一种翻译方法，从图形—背景的定义特征、动态性和突显性三个方面对原诗中的图形和背景进行深入分析。本研究旨在探讨译者在翻译中如何处理原诗中的图形和背景，以及所采用的翻译方法，以有效传达原诗的内涵与意境。许渊冲在翻译中充分发挥了译者的能动性，尽可能遵循原诗的图形与背景，力求最大限度地保留和再现古诗的精华与意境。然而，为了增强译文的连贯性、流畅性和表现力，或在目标语境中营造相应的意境氛围，许渊冲在某些情况下选择了创译原诗的图形与背景，以提高译文的可读性。在采用的翻译方法方面，许渊冲将古诗的文化内涵和表层形式有机结合，对古诗中的地名主要采用语言翻译和删除的方法，而对蕴含典故的词语则主要利用语言翻译和绝对泛化的方法，总体而言，他致力于使译诗简洁明了，以便于目标语读者的理解。译者应适当运用多种翻译策略，以传达原文中图形—背景图式的核心意涵，实现更为全面和准确的文化传播。图形—背景理论能够探析古诗意境形成的方式，从理性的视角解读诗人表达情感的方法，为古诗的翻译和译文的分析提供了可靠的视角。 |
| 关 键 词： | 图形—背景; 翻译方法; 唐诗; 许渊冲 |
| DOI： | 10.57237/j.cll.2024.04.001 |
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收稿日期: 2024-08-13
接受日期: 2024-09-02
在线出版日期: 2024-09-09
The Analysis of English Translation Methods of Tang Poetry Based on Figure and Background Theory
School of Languages and Literature, University of South China, Hengyang 421200, China
| Abstract: | Classical Chinese poetry is a unique form of expression within Chinese classical culture, and its rich connotations often lack corresponding expressions in target language cultural systems. The artistic conception is regarded as the soul of poetry, and many of the artistic conceptions are presented through specific relationships between figures and backgrounds. This paper is based on the Figure-Background Theory, selecting Tang poetry and Xu Yuanchong’s English translations as research subjects. It employs Aixelá’s eleven translation methods to analyze the figures and backgrounds in the original poems from three aspects: the defining characteristics, motion and salience. This research aims to explore how the translator handles the figures and backgrounds in the original poems during the translation process and the translation methods he employs to effectively convey the connotations and artistic conception of the original poetry. Xu Yuanchong actively exercised his agency as a translator, striving to adhere as closely as possible to the figures and backgrounds of the original poems, with the goal of preserving and reproducing the essence and artistic conception of classical poetry. However, in order to enhance the coherence, fluency, and expressiveness of the translations or to create an appropriate artistic conception within the target context, Xu Yuanchong occasionally opted for creative translations of the original figures and backgrounds to improve the readability of the translations Regarding the translation methods employed, Xu organically combined the cultural connotations and surface forms of classical poetry, using linguistic translation and deletion methods primarily for geographical names, while employing linguistic translation and absolute universalization methods for terms that contain allusions. Overall, he aimed to make the translated poetry clear and direct to the understanding of target language readers. Translators should utilize a variety of translation strategies appropriately to convey the core meanings of the figure-background schema in the original text, achieving a more comprehensive and accurate cultural dissemination. Figure-Background Theory enables an exploration of how the artistic conception of classical poetry is formed, and it provides a rational perspective for interpreting the poet’s methods of expressing emotions, thus offering a reliable framework for the translation and analysis of classical poetry. |
| Keywords: | Figure-Ground Theory; Translation Methods; Tang Poetry; Xu Yuanchong |
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