【作者】 刘晟；

【导师】 田德蓓；

【作者基本信息】 安徽大学 ， 英语语言文学， 2013， 硕士

【摘要】 毛泽东不仅是中国历史上卓越的无产阶级革命家、政治家、军事家,而且还是一位杰出的诗人。毛泽东诗词以其丰富的艺术性和思想性而举世瞩目。迄今为止,毛泽东诗词已经被翻译成了多国语言,版本超过二十多种,其中英译本多达十四种。然而,对于这样一部在世界文化史上都深有影响的文学遗产而言,它的英译研究却相当薄弱。意象是中国古代文艺理论固有的概念和词语,它是指诗词中具体的形象。所谓“意象”是指作者的主观情意与客观物境相结合而形成的艺术境界。而文化意象就是文化与意象的结合,是民族群体文化智慧的结晶,是历史地理、风俗习惯、民族观念、思维模式等经过历史的发展,社会文化群体的反复运用而形成的带有丰富联想意义的文化符号,具有相对固定的特征和独特的文化内涵。从文化意象的角度研究毛泽东诗词,无疑是一项很有意义的课题。在众多译本中,笔者选取了威利斯·巴恩斯通(Willis Barnstone)的《毛泽东诗词》(The poems of Mao Tse-tung),辜正坤的《毛泽东诗词：英汉对照韵译》(Poems of Mao Zedong:English-Chinese Rhyme Translation)以及许渊冲的《毛泽东诗词选(汉英对照)》(Selected Poems of Mao Zedong)三个版本为研究对象,探讨文化意象在翻译过程中的失落与歪曲,意在从中外译者以及不同翻译手法入手,对各版本的翻译加以比较,通过比较研究毛泽东诗词不同译本的翻译情况,提出诗歌文化意象翻译的原则与策略。本文主要采取文本分析和比较分析的方法,全文共分为六章。第一章为引言部分,综述了文章的研究意义,以及国内外学术界对毛泽东诗词与文化意象的研究现状,在分析和借鉴前人研究成果的基础上,提出本文的研究目的与创新性。目前国内外学术界主要从语言学途径,文化途径和文体途径对毛泽东诗歌进行研究,研究文化意象的较少,在少数的研究毛泽东诗词的英译文章中,也是偏重对诗词韵律节奏的翻译,对于毛泽东诗词文化意象翻译的研究严重不足。本文将从翻译的文化因素方面对毛泽东诗词英译中的意象翻译进行研究。第二章为文献综述,梳理了国内外毛泽东诗词英译的历史发展过程及研究现状。第三章阐述了文化意象的含义,以及在英汉翻译过程中,由于中西方文化差异,读者往往把意象与文化分割开来,造成文化翻译中文化意象的失落与歪曲。第四章根据毛泽东诗词中文化意象的特点,作者着眼于诗歌翻译中文化意象的传递途径,分别从颜色、典故和数词三个方面,分析三个版本中文化意象的翻译方法及优劣。Harper版本中,威利斯·巴恩斯通大多使用意译的方法,为了能够使其读者更好的了解诗词的语言表达,采用了归化的方法。辜正坤版本在处理文化意象方面,大多使用音译和加注的方式来保留中国文化中的意象,而许渊冲则大多采用归化的方法使读者易于阅读。第五章,通过对毛泽东诗词不同译本翻译情况的比较和分析,从语义和审美两个层面,提出诗歌文化意象翻译的原则与策略。笔者认为诗歌文化意象的翻译应该同时考虑意义对等和审美对等,针对不同的诗歌文化意象来决定是采取归化翻译还是异化翻译,以达到语义对等。将诗歌创作中常用的表现手法运用于文化意象的翻译中,使其在创作过程中视线审美对等。第六章对全文进行了归纳和总结。本文对这项课题做了初步的研究。限于文化意象的历史复杂性和理解的分歧,也限于对毛泽东诗词英译的分析不够深入,本课题研究还存在很多不足,有待今后进一步深化。更多还原

【Abstract】 As we all know, Mao Zedong is not only a distinguished proletarian revolutionary, politician and militarist in Chinese history, but also an outstanding poet. Mao Zedong’s poetry is well-known for its rich artistry and thought. So far, his poetry has been translated with multiple languages with over twenty versions, among which, there are over14English versions. However, with the regard to this literary heritage that has profound influence on the world cultural history, the research on its English translation is relatively weak. Imagery is the inherent concept and word of the ancient China literature and also the specific image in the poetry."Imagery" refers to the artistic state formed through the integration of the author’s subjective emotion and objective physical environment. However, the cultural imagery is just the integration of culture and imagery. Besides, it is the crystallization of the ethnic group culture wisdom; the development of historical geography, custom, ethnic concept, thinking model, etc.; the cultural symbols with rich association and free translation formed through the repeated application of social culture group. Moreover, it has relatively fixed characteristic and unique cultural connotation. Undoubtedly, research on Mao Zedong’s poetry from the viewpoint of cultural imagery is a meaningful subject. Among the numerous translation versions, the author selects three versions as the research object, and discusses the loss of cultural imagery during the translation, with the purpose of making comparison towards the translation of each version from the domestic and foreign translators and their different translation tactics. Furthermore, the author puts forward the principle and strategy of the cultural imagery translation of the poetry through the comparison and research on the translation of different versions of Mao Zedong’s poetry.This paper mainly adopts text analysis and comparative analysis. It is divided into six chapters.Chapter one is the introduction, summarizing the research significance, the current research status of the domestic and foreign academic circles towards Mao Zedong’s poetry and cultural imagery, and puts forward the research purpose and innovation of this paper on the basis of analyzing and referring to the research achievements from the predecessors. At present, the domestic and foreign circles carry out research on Mao Zedong’s poetry mainly from the linguistic approach, cultural approach and literary form approach, while the research on the cultural imagery is relatively few. Besides, a minority of research on the English version still put emphasis on the translation of rhythm of the poetry, so the research on the cultural imagery of Mao Zedong’s poetry is woefully in adequate. This paper makes research on the English-Chinese imagery translation of Mao Zedong’s poetry from the aspect of the cultural factors of translation. Chapter two is literature review, presenting the historical development process and research status of the domestic and foreign English versions of Mao Zedong’s poetry. Chapter three elaborates the significance of cultural imagery, and the loss and distortion of the cultural imagery in the cultural translation, which results from that the reader tend to separate the imagery and culture in the English-Chinese translation due to the western and Chinese cultural difference. In Chapter four, according to the characteristics of cultural imagery in Mao Zedong’s poetry, the author puts emphasis on the transmission approach of the cultural imagery in the poetry translation, and analyzes the translation methods of cultural imagery, their advantages and disadvantages of the three versions from color, literary quotation, and numeral. As for Harper version, Willis Barnstone mainly adopted liberal translation. In order to enable the readers to have a better understanding of the language expression of the poetry, he adopted domestication method. Gu Zhengkun mainly adopted transliteration and notes when dealing with cultural imagery so as to maintain the imagery of the Chinese culture. However, Xu Yuanzhong mainly adopted domestication. In Chapter five, through the comparison and analysis towards the translation of the different versions, this paper puts forward the principles and strategies of the cultural imagery translation of the poetry from semantics level and aesthetic level. The author holds that, the semantic equivalence and aesthetic equivalence should be taken into consideration in the translation of cultural imagery. With the purpose of reaching semantic equivalence, the selection for domestication or foreignization depends on different cultural imagery of the poetry. It is feasible to apply the common expression technique to the translation of cultural imagery, in order to realize the aesthetic equivalence during the work creation. Chapter six is to summarize the whole paper.This paper has made initial research on this subject, due to the limitation of the historic complexity and the understanding divergence of the cultural imagery, and also the limitation of insufficient analysis on the English translation of Mao Zedong’s poetry, the research of this subject still has some deficiencies and needs further in-depth understanding.更多还原