【作者】 张俊杰；

【导师】 王宝童；

【作者基本信息】 河南大学 ， 英语语言文学， 2010， 博士

【摘要】 诗歌翻译研究是诗学、翻译学、美学和文化研究等领域的跨学科、跨文化研究。诗歌翻译的跨学科性和跨文化特征构成了诗歌翻译的复杂性和抗译性。诗歌翻译活动本身和诗歌翻译理论研究领域也因而充满了许多富有争议的论题,诸如直译和意译,形似和神似,忠实与创造,科学与艺术,归化与异化等。鉴于此,我们在吸收西方当代翻译理论研究成果的基础上,尝试以中华思想资源中的中庸之道来审视诗歌翻译研究,以期为诗歌翻译研究寻找新的思路。通过对中庸思想和翻译特性的考察,我们发现,中庸思想对于文学翻译,尤其是诗歌翻译具有重要的借鉴意义。诗歌翻译的间性特征和中庸思想主要观点的契合为我们将这一宝贵资源引入诗歌翻译领域提供了基础。我们以中庸思想中的“诚”、“中和”等核心概念作为诗歌翻译的伦理和美学理论资源,以其“过犹不及”、“执两用中”的方法论理念作为诗歌翻译的策略和方法来源,同时结合当代西方翻译理论和文论,尝试构建了一个中庸的诗歌翻译理论框架。该框架以中庸思想为基础,从诗歌翻译的审美目标、译者的伦理规范、翻译策略的选择三个方面对诗歌翻译的过程进行了描述。它包括以下三个方面：一、中和美——诗歌翻译的审美目标。中庸思想中的“中和美”,或者“和谐美”正是充满矛盾和对立的诗歌翻译活动所追求的“美”的目标和境界；二、至诚至善——诗歌翻译的伦理依据。中庸之道作为儒家的伦理思想,“至诚至善”是最高的道德标准。就诗歌翻译而言,它要求译者遵循“诚信为本”的伦理规范,以真诚的态度对待原诗、诗人和读者；三、执中——诗歌翻译的策略追求。中庸作为方法论,指处理事情不偏不倚、过犹不及。这为我们处理诗歌翻译中诸多的矛盾和对立关系提供了策略和方法论的依据。以上三者之间互为联系,不可分割,构成一个有机的整体。从原则到标准,再到方法,体现了从抽象到具体的思维过程和翻译活动的一般程式。三者共同构成中庸的诗歌翻译理论框架体系。为验证这一理论框架的可行性和实用性,我们选取了唐代诗人王维的三首代表诗作《渭川田家》、《送元二使安西》、《终南别业》的多个英译本作为比读研究的对象。通过对上述三首诗共计21个英译本的比读研究发现,诗歌翻译的美学效果与译者的翻译伦理、即译者对相关他者的态度,和翻译策略的选择有密切关系。译者自觉不自觉地实践中庸的诗歌翻译观会获得相对突出的翻译美学效果,达到或接近“中和美”的境界；否则,就会在内容或者形式上出现这样或那样的误译、漏译甚至有意背离原诗的现象。对王维三首代表诗作的多译本比读分析研究表明,以中庸作为思想武器,在中庸的诗歌翻译理论框架指导下,译者以“至诚至善”的态度明确自己的职责和再现原诗美感的使命,采取灵活适度的翻译方法和策略,从而最大限度地降低误译和漏译,无限地逼近“中和美”的翻译境界,获得和谐的翻译效果,这在理论上是有据可依的,在实践上也是可行的。本文的创新主要体现在以下几个方面：一、构建了中庸的诗歌翻译理论体系,为诗歌翻译理论和文学翻理论体系的建设提供了基础；二、提出了“中和美”的中庸诗歌翻译美学观,为翻译美学建设提供了标准；三、提出了“至诚至善”的中庸诗歌翻译伦理观,为翻译伦理学建设提供了依据；四、提出了“执中”的中庸诗歌翻译策略和方法论,为诗歌翻译的策略和方法论提供了途径。本文的应用价值如下：一、以中庸思想构建了中庸的诗歌翻译理论体系,为翻译学及其理论体系建设提供参考；二、对诗歌翻译实践活动有一定指导意义,为提高诗歌翻译的质量提供理论支持,有助于促进中西思想文化交流和中国诗歌在世界上的传播；三、将中庸的思想引入到翻译领域,强调“执两用中”,有助于破除逻各斯中心主义非此即彼、唯一端是赖的弊病,从而在一定程度上为译学理论建设拓展了新的空间；四、将中庸的思想引入翻译领域,拓展了中庸作为实用哲学的应用领域,有助于弘扬国学。中庸的诗歌翻译观为诗歌翻译提供了一个新的视角,有助于我们破除认识上的一些误区,并能为诗歌翻译领域中的论争提供新的思路。这对于当下及今后的文学翻译实践及理论研究都具有积极的意义。本文的主要局限在于理论框架下的细化研究不足,这是作者今后努力的方向。更多还原

【Abstract】 Poetry translation studies is an interdisciplinary cross-cultural subject involving poetics, translation studies, aesthetics, and cultural research. The interdisciplinary cross-cultural characteristic of poetry translation constitutes its complexity and anti-translatability. Poetry translation activity itself and its theoretical research fields are thus filled with a lot of controversial topics, such as literal translation and free translation, likeness in form and likeness in spirit, faithfulness and creativeness, science and art, domestication and foreignization, or naturalization and alienation. In view of these controversies, and drawing on achievements of contemporary Western translation studies, we attempt to examine poetry translation studies from the perspective of the Chinese Doctrine of the Mean (CDM) with a view to finding a new way of thinking for poetry translation studies.By reviewing the characteristics of the Chinese Doctrine of the Mean and translation, we find that CDM has an important value of reference for literary translation, especially poetry translation. The echoing nature of the inter-characteristics of poetry translation with the main points of CDM provides the basis for introducing this valuable intellectual resource to the field of poetry translation.We have managed to construct a golden-mean framework for poetry translation in combination with contemporary Western translatological and literary theories by taking the core CDM concepts of "sincerity" and "neutralization" as the ethical and aesthetic foundation, and "avoiding extremes to keep to the mean" as the methodological guidance. This framework defines the process of poetry translation from three aspects: the aesthetic goal of poetry translation, the translator’s ethical norms, and the choice of translation strategies. Firstly, "beauty in neutralization", the aesthetic goal of poetry translation. The "beauty in neutralization", or "beauty in harmony", advocated in CDM is the very goal of translation activities, reached through all contradictions and conflicts. Secondly, "utmost sincerity and excellence", the ethical standard for poetry translation. The doctrine of the mean, based on the Confucian ethical thought, is the highest moral standard. As far as poetry translation is concerned, the translator is required to abide by this ethical code and proceed from "sincerity and faithfulness" in dealing with the original poem, the poet and the reader. Thirdly, "avoiding extremes to keep to the mean", the tactical thought of poetry translation. Methodologically speaking, CDM means proper handling of matters, without going to either extreme, for going beyond the limit means insufficiency. This point provides a strategical or methodological basis for dealing with the conflicts and antagonism in poetry translation.The three aspects mentioned above are interrelated, together they make an organic whole. They embody the general formula and thinking process in translation activities from the basic principle to the standards and methods, from the abstract to the specific. It is this trio that make up the CDM framework of poetry translation theory.To verify the feasibility and practicability of our theoretical framework, we have chosen a number of the C-E translated versions of three representative poems by the Tang Dynasty poet Wang Wei:《渭川田家》,《送元二使安西》and《终南别业》, for detailed comparative study. A total of 21 translated versions have been focused on and evaluated in detail. One of the findings is that the aesthetic effect of poetry translation is closely related to the translation ethics of the translator, namely, his attitude towards relevant others, and his choice of translation strategies. The translator’s conscious or unconscious practice in the CDM theory will produce prominent aesthetic effect, reaching or coming closer to the "beauty in neutralization". Failing to do so means mistranslation of one kind or another in content or in form, even deliberate departure from the original poem.The comparative study of the translated versions (the greatest number we have been able to collect so far) of the representative poems shows that the guidance of CDM in poetry translation encourages the translator to aim at the "utmost sincerity and excellence" with a clear sense of mission in restituting the beauty of the original poem through feasible management and, in reducing slips and errors to the least, to approach the "beauty in neutralization" and the effect of harmony. Poetry translation done in this fashion has proved to be reliable in theory and flexible in practice.The innovation of this dissertation lies mainly in the following points. Firstly, it has initially built a CDM framework to provide a theoretical basis for poetry translation and literary translation. Secondly, it has proposed "beauty in neutralization" as a standard for translation aesthetics. Thirdly, it has put forward the "utmost sincerity and excellence" as the CDM ethics for poetry translation. And fourthly, it has advocated "avoiding extremes to keep to the mean" as the tactical or methodological ways for poetry translation.The practical value of this dissertation can be described as follows. Firstly, the CDM poetry translation framework provides important reference for the theoretical system construction of poetry translation. Secondly, this study can offer some practical guide for improving work in poetry translation, and help to promote the cultural exchanges between China and the West in spreading Chinese poetry to the world. Thirdly, the CDM idea of "avoiding extremes to keep to the mean" can help overcome logos-centrism and widen the horizen of translatological development. And fourthly, the introduction of the CDM ideas opens new space for philosophical development and helps enhance Chinese traditional culture in the world today.The CDM view provides a new perspective for poetry translation. It helps us overcome misunderstanding and adds a new way of thinking in dealing with the controversies in poetry translation. It will be of positive significance to current as well as future literary translation practice and theoretical studies. The present study leaves room for further research, chiefly in the practical measures for carrying out the CDM ideas of the framework. This will be the task of the follow-up work for the author of this dissertation.更多还原