中国传统诗歌英译的意象主义“新生”——以英译《苔》为例
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摘要
汉语是一种高度意合的语言,而作为传统文化的代表,诗歌正是这种意合性的集中体现。对于讲求逻辑结构的英语来说,诗歌外译似乎成了不可能的任务,很难同时达到形合与意合。产生于20世纪的意象主义诗歌则为我们的外译提供了很好的研究视角。意象主义诗歌的创作理念在一定程度上与中国传统诗歌产生了共鸣。对意象主义诗歌经典作品的形式与诗性之分析,将给诗歌外译工作带来重要的借鉴与启发,对基于原作以及译入语相似文本的模仿性再创作具有重要意义,从而尽可能减少译出活动造成的文化遗失。
Chinese language features parataxis. As a representative of classical Chinese culture, poem reflects the parataxis well. For English language, which emphasizes sentence structures, the translation of Chinese poem seems to be an impossible task, for it is hard to achieve both parataxis and hypotaxis. The imagism in the 20 th century provides us with a proper perspective for the translation of classical Chinese poem. Its creation concepts have a certain degree of resonance with classical Chinese poem. The analysis based on formality and poetic feature of the typical poetry work of imagism can serve us as a reference for the recreation of classical Chinese poem in the process of translation, in which the cultural losses of the source language will be reduced as far as possible.
Chinese language features parataxis. As a representative of classical Chinese culture, poem reflects the parataxis well. For English language, which emphasizes sentence structures, the translation of Chinese poem seems to be an impossible task, for it is hard to achieve both parataxis and hypotaxis. The imagism in the 20 th century provides us with a proper perspective for the translation of classical Chinese poem. Its creation concepts have a certain degree of resonance with classical Chinese poem. The analysis based on formality and poetic feature of the typical poetry work of imagism can serve us as a reference for the recreation of classical Chinese poem in the process of translation, in which the cultural losses of the source language will be reduced as far as possible.
引文
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[2] 赵彦春.论中国古典诗词英译[J].现代外语,1996(02):31-36.
[3] 赵毅衡.关于中国古典诗歌对美国新诗运动影响的几点刍议[J].文艺理论研究,1983(04):23-30.
[4] 庞德.回顾[M]//戴维·洛奇.二十世纪文学评论.上海:上海译文出版社,1987:108.
[5] 王玉.现代主义诗歌的起点——试论埃兹拉·庞德的意象主义诗歌[J].山东外语教学,2001(02):8-10.
[6] 刘宓庆.新编当代翻译理论[M].北京:中译出版社,2012.
[7] 罗朗.意象的中西合奏与变奏——庞德意象主义诗歌和中国古典诗歌的意象差异研究[J].解放军外国语学院学报,2004(05):69-73.
[8] SHKLOVSKY V.Art as Technique [M]//LEMEN L T,REIS M J.Lincoln:University of Nebraska Press,1965.
[9] 肖曼琼.“陌生化”:从诗歌创作到诗歌翻译[J].外语教学,2008(02):93-96.
[10] 王婷婷.试评析陌生化理论及在庞德诗歌中的应用[J].外国语言文学研究,2011(06):210-211.
[11] 辜正坤.世纪性诗歌翻译误区探讨与对策——兼论严复先生的翻译[J].中国翻译,2015,36(03):75-81.
[12] 拉曼·塞尔登.文学批评理论——从柏拉图到现在[M].刘象愚,陈永国,等译.北京:北京大学出版社,2000.
[13] 许渊冲.翻译的艺术[M].北京:五洲传播出版社,2006:23.
(1)此为杜运燮译
(2)语出歌德《自然与艺术》一文。此处为辜正坤先生所译,译文略有调整。
[2] 赵彦春.论中国古典诗词英译[J].现代外语,1996(02):31-36.
[3] 赵毅衡.关于中国古典诗歌对美国新诗运动影响的几点刍议[J].文艺理论研究,1983(04):23-30.
[4] 庞德.回顾[M]//戴维·洛奇.二十世纪文学评论.上海:上海译文出版社,1987:108.
[5] 王玉.现代主义诗歌的起点——试论埃兹拉·庞德的意象主义诗歌[J].山东外语教学,2001(02):8-10.
[6] 刘宓庆.新编当代翻译理论[M].北京:中译出版社,2012.
[7] 罗朗.意象的中西合奏与变奏——庞德意象主义诗歌和中国古典诗歌的意象差异研究[J].解放军外国语学院学报,2004(05):69-73.
[8] SHKLOVSKY V.Art as Technique [M]//LEMEN L T,REIS M J.Lincoln:University of Nebraska Press,1965.
[9] 肖曼琼.“陌生化”:从诗歌创作到诗歌翻译[J].外语教学,2008(02):93-96.
[10] 王婷婷.试评析陌生化理论及在庞德诗歌中的应用[J].外国语言文学研究,2011(06):210-211.
[11] 辜正坤.世纪性诗歌翻译误区探讨与对策——兼论严复先生的翻译[J].中国翻译,2015,36(03):75-81.
[12] 拉曼·塞尔登.文学批评理论——从柏拉图到现在[M].刘象愚,陈永国,等译.北京:北京大学出版社,2000.
[13] 许渊冲.翻译的艺术[M].北京:五洲传播出版社,2006:23.
(1)此为杜运燮译
(2)语出歌德《自然与艺术》一文。此处为辜正坤先生所译,译文略有调整。