【作者】 林圆圆；

【导师】 何刚强；

【作者基本信息】 复旦大学 ， 英语语言文学， 2011， 硕士

【副题名】以陶渊明诗歌英译为例

【摘要】 诗歌作为特殊的文学体裁,具有丰富的表现力和感染力。中国古典诗歌是中国几千年文化中的一朵奇葩,同时也是中国文化的重要载体和组成部分。中国古诗形式齐整、音韵优美、语言凝练、意象丰富、意境悠远,并具有丰富的文化内涵。译事难,译诗难,译中国古诗更难,这似乎已成为我国译界的共识。中国古诗英译活动本身及其相关理论研究均存在许多富有争议的议题,如可译与不可译性、直译与意译、归化与异化、形似与神似、忠实与创造等。这些问题虽存在已久,但似乎仍悬而未决。本文尝试从“诗种变异”的角度探讨相关问题,希望可从中寻找到一个突破口。本文首先分析了苏姗·巴斯内特的《种子移植：诗歌与翻译》一文,在肯定其学术贡献的基础上,讨论文中存在的一定缺陷和问题,如文中有些互相矛盾的观点、没有对“诗歌种子”的具体涵义进行相关探讨、没有具体讨论移植诗种的方式、方法等。然后以文中存在的几个问题为出发点,进一步展开讨论。第三章中对“诗歌种子”的具体涵义及其表现形式进行了探讨,得出其包括形、象、意、情、韵、神在内的主要六层表现形式的结论。在理清“诗种”的涵义及表现形式的基础上,第四章进一步探讨了中国古典诗歌翻译过程中涉及到的诗歌“种子变异”的现象、原因及引发的问题等,重点以陶渊明的诗歌英译为例,举例说明每个论点,并总结一定规律以提供解决方案。最后,本文回到“种子移植：诗歌与翻译”该文存在的问题,在基于上述讨论的基础上,提供一定的理论解决方案展望。更多还原

【Abstract】 Poetry, regarded as the "best words in best order", is extremely expressive and intensive. Serving both as the building block and the carrier, Chinese classical poetry is one of the most important heritages of Chinese culture. Its neat form, beautiful melody, crystallized diction, rich images as well as its profound meaning make it unique and seemingly impossible to be translated into another language and culture. And it is widely agreed by translators and scholars at home and abroad that few translations of Chinese classical poetry are satisfactory.Quite a number of topics, either involved in translation activities or translation theories, are open for discussion, such as translatability or untranslatability, literal translation or free translation, foreignization or domestication, being similar in form or in spirit, being faithful or being creative and so on so forth. It has been a long time since these questions were ever raised, but they still remain unresolved. This thesis, thus, makes an effort toward solving the relevant problems involved in poetry translation through the discussion from the perspective of "mutation of the seed".In reviewing Susan Bassnett’s "Transplanting the Seed:Poetry and Translation", this thesis has identified several demerits in her paper, such as contradictory ideas, vague idea of the "seed" in poetry translation, vague guideline for determining the right "seed" as well as locating and setting about its transplantation, and vague guideline for evaluating translations, etc. Based on these identified demerits, this thesis starts by the discussion about the multiple layers of representation of the "seed", which include form, image, idea, feeling, playfulness and cultural essence. In Chapter Four, mutation of the "seed" is proposed and discussed with illustrations of different translations of Tao Yuan-ming’s poems.Mutations are involved in transplanting the "seed" of the poetry, some of which are upgrading, while others could be downgrading. The causes of mutations are as various and multi-layered as the mutations themselves. It could possibly be caused by mis-selection of the "seed" by the translator, or by his/her deliberation in mutating the "seed". And it is also possible that the frontiers of form, language and culture make the adaptation difficult and thus cause mutations. Improper environment and better environment would also likely cause downgrading mutations and upgrading mutations respectively. Some parts of the "seed" are bound to be lost or mutated. It can not be denied that the poetic intensity built up by form, imagery, idea, feeling, playfulness and cultural essence in the Chinese classical poetry is, to a greater or lesser degree, reduced through transplantation into English. Rewriting might be a good way to solve this problem, but the problem is that it is no longer the translation defined in its narrow sense.更多还原