【作者】 张淑娟；

【导师】 阎国栋；

【作者基本信息】 南开大学 ， 专门史， 2013， 博士

【摘要】 相比对中国历史、哲学、语言的研究,俄罗斯对包括中国古典诗歌在内的的中国文学的研究明显滞后。中国文学是伴随18世纪欧洲的“中国风”而始为俄罗斯读者所知。俄罗斯人将翻译中国文学作品视为在了解了中国的物质文化之后继续探索中国人精神世界的一把钥匙。以阿理克为代表的俄罗斯汉学家在这一领域取得了令世界瞩目的成就,奠定了俄罗斯汉学在世界汉学界的独特地位。本文旨在分析俄罗斯中国古典诗歌的翻译艺术和研究成果,全面总结中国古典诗歌的俄传历史。本文以中国古典诗歌俄译本以及研究论著为基本文献,在研读文本的基础上,运用学术史研究的方法,借鉴相关翻译理论,对150多年来俄罗斯中国古典诗歌的翻译与研究历史进行了系统的梳理。论文依次对俄罗斯在先秦、汉魏六朝、唐代、宋明诗歌以及中国古典诗论方面的重要译本、论著、译者和研究者进行了专题分析,努力总结帝俄时期、苏联时期、俄罗斯时期俄罗斯汉学在这一领域的成就与不足。本文对俄罗斯中国古典诗歌翻译与研究的特点进行了总结。指出俄罗斯中国古典诗歌翻译与研究的特点在于重视翻译、重视对翻译原则的探索、重视翻译、研究、注释相结合、注重文学术语的创建以及采取汉学界与诗人合作翻译的模式。在考察俄罗斯中国古典诗歌翻译作品的过程中,主要采用俄罗斯文学理论家加斯帕洛夫院士提出的“翻译随意性指数”理论以及中国古典作诗法,横向比较汉学家之间的译作,着重探讨不同译者所坚持的翻译原则,凝炼俄罗斯中国古典诗歌翻译的特点。俄罗斯汉学家对中国古典诗歌的翻译进行了长期的尝试探索,特别重视对韵脚、节奏、重复等诗歌要素的再现。文章特别分析了从最早翻译中国古典诗集的楚紫气到阿理克、艾德林、夏云清、孟列夫,再到新时期托罗普采夫、斯米尔诺夫、格拉婕茨卡娅、阿扎洛娃等译家的翻译原则。他们都对是否再现中国古诗的韵脚发表过著作或观点。阿理克、楚紫气主张翻译出韵脚,但有时为了节奏可以放弃韵脚；艾德林自始至终不主张译出韵脚；斯米尔诺夫对中国诗歌韵脚的翻译经历了从押韵——谐音——不押韵三个阶段；孟列夫、夏云清、托罗普采夫、格拉婕茨卡娅、阿扎洛娃等都主张译出韵脚,而后四位翻译家都不主张增加诗行。而他们无一例外地都特别注重节奏的再现。新时期俄罗斯中国古典诗歌研究继承并发展了阿理克的理论。斯米尔诺夫强调要找到翻译的最佳手段；托罗普采夫主张译出中国诗歌的形式美；格拉婕茨卡娅强调诗行的内部韵脚；阿扎洛娃特别指出要翻译出中国古典诗歌的语言美。不同的翻译理念和翻译方法造就了一个又一个各具特色的中国古典诗词俄译本。本文对俄罗斯汉学家的中国古典诗歌研究著作进行了详细考察。通过纵向比较俄罗斯学者与中国学者对于同一问题的研究,凸显俄罗斯汉学家研究视角和研究方法的开拓性贡献。阿理克将中国文学视为世界文学的有机组成部分,开启了对中国古典诗歌以语文学方法为基础的综合文化研究,并得到其弟子和后人的继承和发展。艾德林的陶渊明研究、车连义的曹植研究、谢列布里亚科夫的宋代诗词研究、达格丹诺夫对白居易和王维的研究等无不在探索中国古典诗词艺术特色的同时,深入发掘其中蕴含的历史、宗教和哲学价值。而新时期俄罗斯汉学家进一步发展了这种研究传统,使文化学研究方法成为俄罗斯中国古典诗歌研究的新潮流。俄罗斯学者的研究不仅促进了俄罗斯汉学的发展,同时也为中国的古典文学研究提供了有益的启示。更多还原

【Abstract】 Compared with the study of Chinese history, philosophy and language, the study of Chinese literature including classical Chinese poetry in Russia is obviously falling behind. Chinese literature has been familiar to Russian along with the wave of China-crazy in18th century. Russian regards the translation of Chinese literary works as a key to explore Chinese spiritual world after their understanding of Chinese material culture. Russian sinologists, represented by V.M. Alekseev, made remarkable achievement in Russian sinology and established its unique position in the world. This dissertation is to analysis the translation art and research findings of Chinese classical poetry in Russia and comprehensive summary of Chinese classical poetry translation development in Russia.Taken Russian translation works of classical Chinese poetry and related research works as basic literature and on the basis of study of text, we systematically examined history of translation about classical Chinese poetry and its research productions in more than150year’s Russia history by adopting methods of academic review and made use of related translation theory.We pointed out that the classical Chinese poetry in Russia is mainly and systematically researched in such fields as poetry of Pre-Qin, six Dynasties, the Tang Dynasty, the Song Dynasty and the Ming Dynasty and the important translation of the classical Chinese poetics, research works, translators and students. We summarized Russian sinology’s achievement and deficiency in this field during period of Russian Empire, the Soviet Union and Russia.Generally speaking we summarized characteristics of the classical Chinese poetry’ translation and research in Russia. We demonstrated that Russian sinologists ’translation and research attach great importance to translation, focus on exploring translation principles, pay more attention to the combination of translation, research and annotation, emphasize creation of literary terms and adopt cooperative mode between sinologist and poet. In the course of investigating translation works about the classical Chinese poetry of Russian sinologists mainly adopting the theory of "Translation random index" raised by Russian theorist and academician M.L.Gasparov and theory of the classical Chinese poetry, we are focus on translation principles among different translators to summarize the translation characteristics of the classical Chinese poetry in Russia by compared horizontally with the works of the sinologists. Russian sinologists made perennial experiment and exploration on translation of the classical Chinese poetry, especially pay more attention on poetry elements such as feet, rhythm and repetition. This dissertaion analysed the translation principles in particular from the earliest translators Ju.K. Shcki, V.M. Alekseev, L.Z. Eidlin, V. F.Salatko-Petrishe, L.N. Menshikov to S.A.Toropcev、I.S. Smimov、O.M. Gorodeckaia、N.M.Azorova in the new period, who published books or voiced their own view of point. V.M. Alekxseev and Ju.K. Shcki hold on that feet should be translated, but sometimes it can be abandoned for the reason of rhythm; L.Z.Eidlin advocated giving up feet from the beginning to the end. I.S. Smirnov’s feet translating of the Chinese poetry has gone through three stages, which are rhythm, partial tone and not rhythm; L.N. Menshikov, V. F.Salatko-Petrishe, O M Gorodeckaia, N M Azorova, etc. hold on that feet is necessary for the Chinese poetry translation, but the last four translators don’t advocate to increasing lines of poetry. But all, without exception, paid a great attention on the recreation of rhythm. New-period Russia has inherited and developed V.M.Alekxseev’s theory about the researching of classical Chinese poetry. I.S. Smirnov emphasized to look for the best method of translating; S.A.Toropcev concentrated on translating the form beauty of Chinese poetry; O M Gorodeckaia emphasized the interior feet of poetry lines; N M Azorova specially advocated translating the language beauty of Chinese classical poetry. Different translating theories and methods made the diverse Russian versions of Chinese classical poetry.This paper has made a closer investigation on the Russian sinologists’works about the researching of Chinese classical poetry. Through the longitudinal comparison of researching aiming at same problem between Russian scholars and Chinese scholars, it obviously demonstrated the pioneering contribution of Russian sinologists in terms of researching angles and methods. V.M. Alekseev regarded Chinese literature as an organic part of world literature and offered a key to the comprehensive cultural research of classical Chinese poetry, based on the philology method, which was inherited and developed by his students and posterity. L.Z. Eidlin’s research on Tao Yuanming, L.E. Cherkasskii’s research on Cao Zhi, E.A. Serebriakov’s research on Song poetry, GB. Dagdanov’s research on Bai Juyi and Wang Wei and etc., all sought the artistic characteristics of Chinese classical poetry and meanwhile deep explored its value of history, religion, and philosophy it contains. And new-period Russian sinologists further developed this research tradition, and made the cultural researching method become a new trend of classical Chinese poetry research in Russia.Russian scholars’research not only promotes the development of Russian sinology but also offers great enlightenment for classical Chinese literature researching.更多还原