【作者】 王晓惠；

【导师】 祝远德；

【作者基本信息】 广西大学 ， 外国语言学及应用语言学， 2004， 硕士

【摘要】 诗歌是一种特殊的文学形式，曾经写下中国古代文学史上最辉煌的篇章。随着中外跨文化交流的迅速发展，文学翻译中备受瞩目的诗歌翻译也越来越呈显繁荣之态。虽然目前译作大量出现，但诗歌翻译质量并不尽如人意。如何把中国古代诗歌更好地向世界推介已成为每位文学译者不可回避的严肃课题。中国古代诗歌语言高度含蓄、凝练，其意象更具独特的艺术魅力。译者对诗歌意象的认知及其程度直接决定他在翻译过程中对意象编码和解码的操作，也直接影响译本质量。可以说意象转换过程是诗歌翻译的核心。本文意在通过空间合成理论探讨中国诗歌意象在英译过程中的传递，以期提高诗歌翻译的质量。 笔者在论文中引入了认知语言学领域的“空间合成理论”，它是一个基于四位心理空间框架的认知结构理论。随后，笔者介绍了意象的由来及发展。中国古代诗歌的意象比西方意象派的意象概念范围更广，意义更微妙。 接着，利用空间合成理论这种认知手段先分析了作者在创作过程中的交织运作。再分析在汉文化背景下一首诗的众多意象是如何相互影响彼此的映射和交织而被读者理解的。然后笔者从交织理论的角度把翻译活动解构成两个独立的交织过程。 对于翻译效果的评价，本文通过理论和问卷对《天净沙·秋思》的两个译本进行深入分析比较，得出结论：Schlepp所使用的直译方法更适合应用于古代诗歌翻译。因为直译在形式上更贴近原文文本框架，能给译人语读者留下最大限度的解读和审美空间。基于此，笔者提出自己的观点，认为诗歌翻译应接受直译法，用简洁的语句留给目的语读者以最大的审美空间。中国古代诗歌翻译应尽量保持中国古代诗歌的原貌和初始意象。英译过程中我们应该努力做到：越初始越好。同时提出：文化交流中应本着交流双方地位平等原则。更多还原

【Abstract】 Poetry is a special literary form. It has added a most illustrious chapter to the annals of classical Chinese literature. Today with the rapid development of cultural exchange, Chinese poetry translation, upon which more and more attention is fixed, is increasingly prosperous in the field of literary translation. Although at present there are a lot of English translations of Chinese ancient poetry, the quality is not so satisfactory. How to introduce Chinese poetry with more original taste to the outside world? This is an inevitable and serious task to every literary translator. Chinese poetic language is extremely implicit and concise, especially the image with unique artistic charm. A translator’s cognition of image and his cognitive level will not only decide his operation on image encoding and decoding in translating process directly, but also influence the quality of the version greatly. It can be said that image translation is the core of poetry translation. The thesis aims to improve the quality of translation by discussing the transfer of Chinese poetic image into English translation in terms of the blending space theory.First, the "Blending Space Theory" of cognitive linguistics is introduced. It is a systematic cognitive theory with four cognitive spaces. Second, the origin and evolution about image are stated. Chinese poetic image has larger scope and is subtler than the image in Imagism. Third, this cognitive method is applied to the analysis of the author’s blending operation in his poetry-creating process. Following that is the further study on interaction of the mappings and projections of several images in the frame of Chinese culture during readers’ comprehending process. In the perspective of blending theory translation is destructed into two independent blending processes.As for the evaluation of translating effect, we can conclude it fromthe further theoretical analyses and detailed questionnaire investigations of the two versions of "Autumn Thought" that Schlepp’s strategy, literal translation is more suitable in poetry translation. Literal translation can make the version more closed to the original one and leave as large imaginative room as possible to readers. Based on this, the conclusion is drawn that in poetry translation literal translation should be employed, succinct poetic language should be used to give readers the largest aesthetic space where readers can experience whatever they find. In the practice of Chinese ancient poetry translation, the original appearance of ancient poetry and its initial poetic image should be preserved. What we try to pursue is: the more original, the better. At the same time, the principle should be followed that two parties are equal in the context of intercultural communications.更多还原