论文标题:“三美”齐备谱华章
"Three Beauties" Make Fine Works
论文作者 石红霞
论文导师 周良仁,论文学位 硕士,论文专业 英语语言文学
论文单位 广西师范大学,点击次数 153,论文页数 38页File Size256k
2005-04-01论文网 http://www.lw23.com/lunwen_47782492/ 许渊冲; 中国古典诗歌;“三美”原则; 翻译理论; 翻译实践
Xu Yuanzhong; Chinese classical poetry; ‘three beauties’principle translation theory; translation practice
诗歌是语言的艺术,也是民族语言的宝贵财富。中国古典诗歌是中华文化宝库的一颗明珠。长期以来,中外学者一直在从事着中国古典诗歌的翻译。他们在把这一不朽的中华文化遗产介绍给世界这个方面做出了很大的贡献。与其他题材的翻译相比,诗歌翻译具有艺术性和含蓄性的特点。汉语和英语属于不同的语族,并且中国和英语国家有着不同的文化和语言背景,因此中国古典诗歌的翻译是一个艰巨的任务。许渊冲教授在中国诗歌翻译方面作出了很大贡献。就他的诗歌翻译的质量和数量来说,他在中国诗歌翻译界有着深远的影响。结合自己的诗歌翻译实践,他提出了诗歌翻译的“三美”原则――“意美”、“音美”和“形美”。由于这个原则强调“美”,尤其是“音美”,有时候与以“信”为本的中国传统翻译理论形成了不同的意见,由此引发了很大的争议。本文作者选择许渊冲的诗歌翻译“三美”原则以及他的诗歌翻译实践作为研究对象,从多角度、多层面出发,系统地总结了许渊冲的诗歌翻译的“三美”原则及诗歌翻译实践,通过分析他在翻译实践中对“三美”原则的运用,提出应该辨正地看待许渊冲的“三美”原则,以此来发现他的“三美”原则的理论创新价值及其实践意义。在对比研究了许渊冲的诗歌翻译实践和对他的诗歌翻译“三美”争议的基础上,本文提出应对许渊冲的诗歌翻译理论和翻译实践做出客观、公正的评价。通过本文中给出的例子,作者指出虽然许渊冲的诗歌翻译实践中存在某些不足之处,但是,他的绝大部分诗歌翻译作品是成功的。他的诗歌翻译作品实践了他自己的诗歌翻译原则,他的高超的技艺是值得学习和借鉴的。他在诗歌翻译理论和诗歌翻译实践方面做出的有益尝试毫无疑问地对中国文学翻译的进一步发展有着积极的影响。
Poetry is an art of language and a golden treasury of national language. The Chinese classical poetry is a gem in the treasure house of Chinese literature. For a long time, many scholars, foreign or domestic, have been engaging in translating the Chinese classical poetry and made great contributions to introducing this immortal heritage of Chinese culture to the world. Poetry translation is characterized by its artistry and subtlety as compared to that in the translation of other genres. The Chinese and English languages belong to different language families and there exists different cultural and linguistic backgrounds between China and the English –speaking countries, the task of poetry translation from Chinese into English has never been easy. Professor Xu Yuanzhong made remarkable contribution to Chinese poetry translation and has had far-reaching influence in the area, so far as the quality and quantity of his translation and translation theory are concerned. What is more, combining his experiences of poetry translation, he set forth ‘three beauties’principle ---‘beauty in meaning, beauty in sound and beauty in form’on poetry translation which has aroused heated debate, for the principle stresses ‘beauty’, especially ‘beauty in sound’, is not sometimes in consistent with ‘faithfulness’which is the main stress of the mainstream of traditional Chinese translation theory. The author of this thesis chooses Xu Yuanzhong’s ‘three beauties’principle and his poetry translation as a subject matter, summarizes systematically Xu Yuanzhong’s ‘three beauties’on poetry translation and his poetry translation practice from multi-aspect and multi-perspective, makes tentative analysis on his translation practices which he applied his ‘three beauties’to them and advocates to comment dialectically on Xu Yuanzhong’s ‘three beauties’principle to find its creative theoretical value and its practical significance. On the basis of comparative study on Xu yuanzhong’s poetry translation practices and the debate on his ‘three beauties’principle on poetry translation, the thesis offers some suggestions on making an objective and impartial judgment on Professor Xu Yuanzhong’s poetry translation theory and his poetry translation practice. Through the examples given in the thesis the author points out that it is true there exists some drawbacks in Xu Yuanzhong’s poetry translation practices. However, most of his poetry translation with ‘three beauties’realized his own ‘three beauties’principle and achieved much success. His consummate skill is worth learning from and taking as reference. His useful attempts on both poetry translation theory and practice are undoubtedly beneficial for the further development of Chinese literary translation.
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