【作者】 王硕；

【导师】 姜蕾；

【作者基本信息】 东北大学 ， 英语笔译（专业学位）， 2017， 硕士

【摘要】 中国书法是在汉字基础上形成和发展起来的一门艺术。它是中国传统文化中最具代表性的元素,体现着中国传统文化的精髓,凝聚了五千多年来中华民族的精神力量,造就了辉煌灿烂和流光溢彩的华夏文明。中国书法艺术是多种元素的完美结合,点画线条的方与圆、曲与直、刚与柔,用笔的提与按、轻与重、快与慢、擒与纵,结字与章法的欹与正、疏与密、虚与实,墨色的燥与润、浓与淡等等。正是因为点画线条的灵动变幻,在中国古代的不同历史时期形成了不同风格和形式,不同流派的书体,有婉转流动、形态匀称的篆书,有体态宽博、遒劲严整的隶书,有草舞龙蛇、奔放豪迈的草书,有行云流水、飘逸隽永的行书,更有端庄典雅、规矩方正的楷书;正是因为用笔、结字和章法的合理布局和安排加之墨色的完美调和,在中国书法史中形成了一幅幅风格迥异、别具一格的书法艺术作品——“碑”与“帖”。而无论是笔画线条的灵动感,还是创作过程中用笔、结字、章法的表现力,又都是不同历史时期书法家们情感的流露与宣泄,正所谓“笔迹者界也,流美者人也。”通过笔墨的流动表达书家的情感和心灵,并把这种心灵的艺术展现给世界,让中国书法成为一种“无色而具图画之灿烂,无声而有音乐之和谐”的独特艺术。实践证明:越是民族的,就越是世界的。中国书法艺术要屹立于世界民族之林,就离不开中国书法文化海外传播。近几十年来,中国书法艺术海外传播主要体现在其艺术层面和学术层面两个方面,艺术层面上的传播与交流日益频繁,而学术层面上的传播与交流则相对薄弱,因此,促进中国书法艺术在学术层面上的传播与交流具有极其重要的现实意义,而翻译在加强国际间传播和交流的过程中又起着重要的桥梁和纽带作用。基于此,本文分别从书法名称、书体特点、书法创作过程、书法审美标准四个层面对中国书法艺术英译进行研究。在书法名称上,主要从书体名称、碑帖名称、书写工具名称、书法家名字、书法笔画名称五个方面来讨论;在书体特点上,主要分析中国书法史中五种重要书体的特点——篆书、隶书、草书、行书、楷书的书体特点;在书法创作过程上,主要从书法创作过程中的三要素:用笔、结字、章法进行探讨;在书法审美标准上,主要从书法美学术语、书法“意境美”、“山谷笔法”形式美、“五乖五合”书法创作审美标准四个方面进行阐述,四部分是层层递进的关系,从低层面的材料美到中层面的形式美再到高层面的意境美,从而对中国书法艺术进行动态综合分析。在对其英译的研究过程中,本文主要从西方阐释学视角出发,对其翻译批评与翻译实践两方面进行研究。在翻译批评上,我国学者朱健平从西方哲学阐释学思想出发,进一步阐述了“翻译即解释”的实质和内涵,并引申出“解释是翻译的普遍特征”和“翻译是有限度的解释”。笔者根据朱健平的阐释学翻译研究视角,对中国书法艺术英译文本的优缺点和差异进行分析和比较。在翻译实践上,我国学者王宁结合西方阐释学、雅各布森翻译的三个方面以及当代文学批评中的“图像转折”,提出“跨文化语符/图像阐释(翻译)”。笔者以“跨文化语符/图像阐释(翻译)”为视角,对其英译实践提出一些看法和观点,试图为中国书法艺术英译实践提供借鉴和参考。随着“汉语热”和中国文化在全球范围内传播与交流的不断发展,中国书法文化在国际文化和艺术交流中得到了很大程度上的认同与喜爱。书法艺术已不再仅局限于中国文化语境之内,越来越多的外国人认识到中国书法艺术所具有的审美功能和独特的东方文化魅力。同时,为了使中国书法艺术在国际社会传播和交流的过程中更好地发展,提升中国书法文化软实力和书法国际话语权地位,避免在国际文化传播与交流过程中所产生的分歧,需要提高翻译质量。在翻译的过程中,要采用合适的理论视角来指导翻译实践,翻译工作者既要积极主动地将中国书法艺术所具有的文化特征和独特魅力表现出来,又要考虑目的语读者的反应效果。因此,对中国书法艺术英译的研究不仅对促进中国书法文化海外传播具有十分重要的现实意义和理论意义,也对中国其他文化或艺术外译具有深远影响。更多还原

【Abstract】 As a kind of art,the Chinese calligraphy is formed and developed based on Chinese characters.It is the most symbolic element in traditional Chinese cultures,condensing the spirit of Chinese nation over the five thousand years and creating the splendid and brilliant Chinese civilization.The art of Chinese calligraphy is in harmony with various elements,including dots and lines in square or round,curved or straight,and forceful or mild shapes,Yong Bi(methods/approaches in calligraphy)with the trends of lifting or pressing,holding or spurting in different speeds,postures and compositions in slanting or upright,sparse or dense structures and ink colors with heavy or light,dry or wet changes.Because of the flexible changes of dots and lines,it appears writing scriptsin various styles,forms and genres during the different periods of Ancient China.For instance,there are flexible and well-balanced Zhuan Shu,forceful and orderly Li Shu in broad postures,unstrained and bold Cao Shu in a very fast speed,flowing and graceful Xing Shu and even elegant and upright Kai Shu.And it is because the rational layout and arrangement in Yong Bi,postures and compositions as well as the harmonious ink colors that the different but unique art works--"Bei" and "Tie" are formed in the history of Chinese calligraphy.No matter how smart the strokes and lines are or the Yong Bi,postures and compositions are shown in the writing process,all betray the emotions of calligraphers during different historical periods.As a famous saying goes,"The strokes and lines reveal the beauty of nature,and also reflect the beauty of people’s inner hearts." By the flowing strokes and lines,the calligraphers’ emotions and spirits are expressed and showcased to the whole world,which makes Chinese calligraphy become a unique art that is colorless but has the brilliant effect as paintings,that is soundless but has the harmonious effect as music.It has been found that the art is more ofa nation and it is more of the world.The art of Chinese calligraphy cannot stand firm among the nations of the world without overseas dissemination of Chinese calligraphy.Over the last few decades,the overseas dissemination of Chinese calligraphy has reflected mainly on two levels--one is artistic level and the other is academic level.Compared with the communication of artistic level in a subdominant position,the communication of academic level is getting more and more frequent;therefore,it has more practical significance in enhancing Chinese calligraphy on academic level.However,as a bridge and belt,translation plays an important role in promoting the disseminations and communications among the nations.Based on the above,this dissertation will analyze the English translation of Chinese calligraphy from four perspectives--the names of Chinese calligraphy,thefeatures of writing styles,the writing process and the aesthetic standards of calligraphy.As for the English translation of the names of calligraphy,this dissertation will focus on the names of writing styles,the names of Bei and Tie,the names of the writing tools,the calligraphers’ names and the names of different strokes.For the English translation of the features of writing styles,this dissertation will mainly discuss about the features of the five most important writing styles in the history of Chinese calligraphy-the features of Zhuan Shu,Li Shu,Cao Shu,Xing Shu and Kai Shu.For the writing process,this dissertation will mainly put emphasis on the English translation of three elements--Yong Bi,postures and compositions.As for the aesthetic standards of calligraphy,this dissertation will explain the English translation of the terms of calligraphic aesthetics,the beauty of aesthetic conception in calligraphy,the beauty of form of Shangu’s writing techniques and the aesthetic standards of "Five disfavors and five favors" in writing process.From the perspective of Chinese calligraphy,these four parts are in progressive logical relations,which mean that this study covers three levels--from the calligraphic material beauty on a low level,the formal beauty on a middle level and the aesthetic conception beauty on a high level,making a comprehensive and dynamic analysis of the art of Chinese calligraphy.The dissertation will make a study on translation criticism and translation practice from the perspective of the western Hermeneutics.As for translation criticism,Zhu Jianping,a Chinese scholar further explains the essence and connotation of"Translation is interpretation" and expounds "Interpretation is the common feature of translation" and "Translation is alimited interpretation" from the point of view of the western Hermeneutics.The author will analyze the advantages and disadvantages and compare the differences and similarities among different English versions of the art of Chinese calligraphy in accordance with Zhu Jianping’s Hermeneutics translation studies.As for translation practice,Wang Ning,a Chinese scholar puts forth"Transcultural iconic translation" combing with the theory of the western Hermeneutics,the three aspects of translation put forward by Roman Jakobson and"Image Turn" in the modern literary criticism.The author will give some views and opinions on translation practice from the perspective of "Cross-cultural Iconic Translation" in order to provide reference for the English translation practice of the art of Chinese calligraphy.With the constant development of world-wide dissertation and communication of the enthusiasm in learning Chinese and Chinese culture,to a great extent,the art of Chinese calligraphy has gain great recognition and popularity in international cultures and art communication.It can no longer exist against the background of Chinese culture and more and more foreigners get to realize its aesthetic function and unique charm of Oriental Culture.Meanwhile,the quality of translation should be further improved in order to enhance the soft power and the status of international discourse power of Chinese calligraphy,avoiding divergence in international cultural dissemination and communication.During the process of translation,the appropriate theories should be appropriately applied to translation practice.Translators should be not only active in showing the cultural feature of Chinese calligraphy and its unique charm,but also take consideration of the target language readers’ reaction effects.Therefore,the research on the English translation of the art of Chinese calligraphy is of both practical and theoretical significance on facilitating the overseas dissemination of Chinese calligraphy,as well as the deep significance on the translation work of other Chinese cultures and arts.更多还原