【作者】 张莹；

【导师】 尹衍桐；

【作者基本信息】 中国石油大学(华东) ， 外国语言文学， 2016， 硕士

【摘要】 《红楼梦》是一部伟大的诗化小说。无论是文学研究还是翻译研究都无法忽视它的诗性特征。其诗性特征体现在很多方面,比如音乐美,形美,修辞美,语言美,意象美,意境美等等。意象美和意境美是诗性特征最为重要的部分。但是,目前有关《红楼梦》的研究主要关注其语言、文化、作者及翻译方法、标题等。而对于诗性特征的研究并不多,并且主要集中于修辞美,音乐美和形美。意象和意境的研究相对较少。本文选取意象和意境作为研究对象,并以认知诗学为指导对霍克斯和闵福德译本,杨宪益和戴乃迭译本进行了对比分析。认知诗学对文学翻译极具重要性。其中,意象图式理论和图形背景理论不仅可以用于分析意象意境创造,又可以用于分析翻译问题。因此,本文在第三章运用意象图式理论对意象进行了分析,包括空间意象和动觉感官意象两大部分。同样,第四章运用图形背景理论分析了意境,包括空间组织原则和时间组织原则两部分。通过分析发现,霍克斯译本更贴合原文。霍克斯在翻译《红楼梦》之前曾深切的希望他能把他自己阅读《红楼梦》时的愉悦感受真切的传达给每一位读者。因此,在翻译过程中,霍克斯始终围绕这一翻译目的,以目标语读者为中心,创造性的诠释了《红楼梦》的文学美。在目标语读者文化和翻译诗学观的影响下,霍克斯选择了归化翻译策略。他不仅灵活的处理各种翻译问题,还更加注重原文细节,力求完整的传达原文的信息,保留原文的诗性美。而杨宪益和戴乃迭夫妇在翻译《红楼梦》的过程中,则更注重传播中国文化,倾向于忠实原文,尽量不对原文进行更改。因此,霍译本更好的传达了《红楼梦》的诗性美。本文除前言总结外共分为四部分:第一章主要着重强调《红楼梦》诗性特征,回顾了《红楼梦》翻译研究现状,发现诗性特征特别是意象意境的研究相对较少。第二章介绍了认知诗学的概念、起源,以及认知诗学在翻译应用中的指导意义。第三章和第四章为本论文的主体部分。第三章运用意象图式理论研究了《红楼梦》的意象翻译,包括空间意象和感官意象,对比分析了霍克斯译本和杨宪益译本的异同之处。同样,第四章运用图形背景理论来研究意境翻译,包括空间组织原则和时间组织原则,分析了霍译本和杨译本在处理原文时的异同。更多还原

【Abstract】 Hong Lou Meng is a great poetic novel.Its poetic features cannot be neglected in both literary study and translation.Its poetic features are reflected in many aspects,such as musical beauty,formal beauty,language beauty,rhetorical beauty,the beauty of image,artistic conception and so on.Among these aspects,the beauty of image and artistic conception is of the most importance.By far,the studies about Hong Lou Meng mainly focus on language,culture,translators and their strategies,etc.,while those few studies on poetic features mainly concentrate on rhetorical beauty,musical beauty and formal beauty.Image and artistic conception are paid less attention.This thesis chooses image and artistic conception as the objects and adopts cognitive poetics to analyze and compare two English translations,that is,the translation by David Hawks and John Minford,and the translation by Yang Xianyi and Gladys Yang.Cognitive poetics is very significant to translation studies.Its theories,image schema and figure/ground theory,can not only be used to analyze images and artistic conception,but also to guide the construction of image and artistic conception in literary translation.Therefore,Chapter three in this thesis adopts image schema to analyze images,including spatial images and motor sensory images,and Chapter Four uses figure/ground theory to analyze artistic conception,including spatial organization principle and temporal organization principle.Through analysis,Hawks’ version is more close to the original in terms of the poetic features.He tries hard to convey the pleasant feeling of reading Hong Lou Meng to readers.Therefore,he concentrates on the purpose and readers all the time and creatively conveys the beauty of the original.Under the influence of the target culture and translation poetics,he chooses domestication strategy.He deals with translation flexibly and pays more attention to details,in order to retain the information and beauty of the original.Yang Xianyi and Glays Yang pay more attention to Chinese culture.They are loyal to the original in form.To sum up,Hawks’ version conveys more poetic beauty.This thesis consists of four chapters,besides apart from the introduction and conclusion:Chapter one emphasizes poetic features and makes a survey of the present studies about the translation of of Hong Lou Meng.It finds that the studies focusing on poetic features,especially image and artistic conception are less.Chapter two introduces the definition and origination of cognitive poetics and the application of cognitive poetics theory to translation.Chapter three and chapter four are the main parts of the thesis.Chapter three studies the image with image schema,including spatial images and motor sensory images.It also analyzes the similarities and differences of the two English versions.Chapter four studies the artistic conception with figure/ground theory,including spatial organization principle and temporal organization principle.It also compares two translated versions.更多还原