【作者】 孙梅；

【导师】 卢卫中；

【作者基本信息】 曲阜师范大学 ， 英语语言文学， 2014， 硕士

【摘要】 诗乃文学之祖，艺术之根。世界上无论哪个民族，其民族文学总是发端于诗歌。诗歌按照一定的韵律要求，用简洁的语言和丰富的想象力表达诗人的丰富感情，使自身的思想感情和客观事物和谐统一，在诗歌中创造出情景交融、形神兼备的艺术境界，即“意境”。“意境”是中国文学和美学的一个重要范畴，国内外的学者对此都进行了广泛而深入的研究，但是之前对于“意境”的解读和翻译主要从修辞、美学和社会文化的角度，较少从诗人创作诗歌时的心理过程的角度来探讨诗人的创作心理与诗歌文本的互动。认知语言学认为语言是人类认知活动的产物,而图形-背景分离原则是人类在认知世界时所采用的一个重要的认知工具或机制。因此,图形背景理论经常被用来解读语言背后的认知机制,为探讨诗人的创作心理、理解诗歌意境提供了很好的解释。诗歌翻译是将源语文本所承载的信息及其背后的认知机制通过目的语言文本传递给目的语读者,重现原语的意境，使目标语读者和源语读者有相同的阅读感受。因此,作为语言背后的一个重要认知机制,将图形-背景理论用于指导诗歌翻译实践在一定程度上为在目的语文本中再现中国古典诗词的意境提供了可能。根据认知语言学的图形背景理论，本文首先归纳总结了图形背景联接用于语言及诗歌的研究成果；然后探讨了图形背景理论在中国古典诗词的意象、时空结构、省略、转喻、兴寄手法运用等方面的体现，正是这些手法的运用，使中国古典诗词充满意境；最后本文试图在图形背景理论的关照先归纳出可行的翻译策略并用于指导翻译实践。通过以上研究，本文认为基于突显观和注意观的图形背景理论对于中国古典诗词的意境具有很强的解释力。结合审美原则中的对比原则、调和原则、清晰性原则、联想原则和多样性统一的原则，诗人通过突显不同的意象来创造意境，达到其审美意图。为了使中国古典诗词的意境在目的语文本中得到再现，译者在翻译过程中可采用如下翻译策略，即在目的语中采用同等图形背景关系、转换图形背景关系、添加图形或背景，或者省略图形或背景。本文的研究为中国古典诗词的意境研究提供了一个新的角度，进一步验证了图形背景理论对于分析诗歌意境和指导意境翻译方面具有积极作用。更多还原

【Abstract】 Poetry is the originator of literature and the root of arts. There is no other nation whoseliterature does not stem from poetry. Poets express their abundant feelings in accordance to therequirements of rhyme and with concise language and rich imagination. The poetry is also asignificant part of Chinese literature. Chinese Classical Poets combined their subjective feelingsand the objects they perceived harmoniously, creating an abstract poetic space which is called“artistic conception”. Artistic conception in classical Chinese poetry is an important category ofChinese literature and aesthetics. Scholars at home and abroad have made wide and profoundstudies on it, yet the previous interpretation and translation of the artistic conception in classicalChinese poetry is mainly from rhetorical, aesthetic or the socio-cultural perspectives. Fewstudies have been made to explore the interaction between the poets’ creation psychology andthe poetry from the perspective of internal procession in writing a poem.Cognitive linguistics holds that language is the product of human cognitive activities, andthe figure-ground alignment principle is one of the important cognition tools or mechanisms.Thus, such theory is usually used to interpret the cognitive mechanism of language and offersan explanation to explore the poets’ creation psychology and helps readers appreciate theartistic conception in Chinese classical poems better. Translation is a process of transferring theinformation loaded in the source language text to target language readers and reproducing theartistic conception expressed in the source language text in the target language text in order tomake the readers of the target language have the same feelings as the source language readers.Therefore, as an important cognitive mechanism of language, the figure-ground theory appliedto direct the translation practice of poetry makes, to some extent, possible the reproduction ofartistic conception of classical Chinese poetry in the target language text.Based on the figure-ground theory of cognitive linguistics, the thesis first gives a survey ofthe application of the figure-ground alignment to language and poetry; then, it discusses thepresence of this theory in the expressions of images, spatiotemporal structures, ellipsis,metonymy and Xingji in classical Chinese poetry, and how the theory helps to produce theartistic conception in these five aspects; lastly, the thesis tries to conclude some practicaltranslation strategies for instructing translation practice.According to the present study, the thesis holds that the figure-ground theory, which isbased on the prominence view and attention view, is powerful in explaining the artisticconception of classical Chinese poetry. In order to create a certain artistic conception andachieve the aesthetic intention, the poets usually highlight different images according to thecontrastive principle, harmonic principle, clarity principle, associative principle and unity in diversity principle of aesthetics. In order to reproduce the artistic conception, the translator maychoose from several strategies in the translating process such as using the identicalfigure-ground relationship, using the reversed figure-ground relationship, adding a new figureor ground, or omitting the figure or ground in the target language.The present study provides a new perspective to the artistic conception study of classicalChinese poetry and further testifies the positive role that the figure-ground theory plays inanalyzing the artistic conception of poetry and in instructing the translation of artisticconception.更多还原