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Xu Yuan Zhong's Poetic Translation Theories and Reduplication Translation in Chinese Classical Poetry

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ABSTRACT

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ACKNOWLEDGEMENTS

TABLE OF CONTENTS

Chapter One INTRODUCTION

Chapter Two XU YUAN ZHONG’S LIFE,WORKS AND THEORIES

2.1 Xu Yuan Zhong’s Life——Education and Career

2.2 Xu Yuan Znong’s Works

2.3 Xu Yuan Zhong’s Translation Theories

2.3.1 The theory of “Translation is art”

2.3.2 The theory of “Three Beauties”

2.3.3 The theory of “Three Transformations”

2.3.4 The theory of ‘‘Three Understandings”

2.4 Aesthetics in Xu Yuan Zhong’s Translation Theory

2.4.1 The definitions for aesthetics

2.4.2 The relationship between aesthetics and translation theory

2.4.3 Aesthetics in Xu Yuan Zhong’s poetic translation theory

2.5 Comments on Xu Yuan Zhong’s Translation Practice and Theories

2.5.1 Approval to Xu Yuan Zhong

2.5.2 Dispute on Xu Yuan Zhong

Chapter Three A STUDY ON REDUPICATION

3.1 Reduplication in English

3.2 Reduplication in Chinese

3.2.1 Definition for reduplication in Chinese

3.2.2 Forms of reduplication in Chinese

3.2.3 Function of reduplication in Chinese

3.3 The Present Study on Reduplication

3.4 Summary

Chapter Four XU’S POETIC TRANSLATION THEORIES AND THE ENGLISH TRANSLATION OF RUDUPLICATION IN CHINESE CLASSICAL POETRY

4.1 The Theory of “Three beauties” and the English Translation of Reduplication

4.1.1 The application of “Beauty in Sense”

4.1.2 The application of “Beauty in Sound”

4.1.3 The application of “Beauty in Form”

4.2 The Theory of “Three Transformations” and the English Translation of Reduplication

4.2.1 The application of Generalization

4.2.2 The application of Equalization

4.2.3 The application of Particularization

4.3 The theory of “Three Understandings” and the English Translation of Reduplication

4.3.1 The application of “Three Understandings” in selected translations for Wooing and Wedding

4.3.2 The application of “Three Understandings” in selected translations for Green,Green Spreads the Bank-Side Grass

4.4 Some Practical Methods for the English Translation of Reduplication in Chinese Classical Poetry

4.4.1 Methods based on the sound of reduplication

4.4.2.Methods based on the form of reduplication

4.4.3.Methods based on the meaning of reduplication

4.5 Summary

CONCLUSION

BIBLIOGRAPHY

PAPER PUBLISHED (2006-2009)

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摘要

叠词作为一种词汇现象,在英汉两种语言中都存在。叠词在汉语中使用非常广泛。在中国古典诗词中,大量出现的叠词为诗歌创造出了独特的艺术及美学效果,但是,在中国古典诗词的翻译过程中,翻译家们很少把注意力放在诗词中频繁出现的叠词上。浏览中国古典诗词的各种译本,会发现许多时候翻译家们会把诗词中出现的叠词忽略不译。尽管不同的学者有时会涉及到叠词的翻译问题,但是仍然缺乏系统性的研究,而且这一问题也未得到充分的注意和重视。有鉴于此,本文就中国古典诗词中叠词的翻译分别从理论和实践两方面进行了系统的探索与研究。
  本文对汉语叠词的定义,形式和功能进行了具体的阐述。由于英语中的叠词比汉语中的少,且多为非正式文体,所以在英语中叠词应用不如汉语广泛,而汉语叠词则大量应用于古典诗词中,大大增加了诗词的艺术和美学的感染力。为解决古典诗词中叠词翻译的难题,本文作者尝试在许渊冲先生的诗歌翻译理论基础上对不同译本中中国古典诗词的叠词翻译加以阐述和分析。许渊冲先生的诗歌翻译理论可以概括为“三美”、“三化”和“三之”。“三美”指译文要保持原文的意美、音美和形美。“三化”指翻译的具体方法:浅化、等化和深化。“三之”则指译文要让读者知之、好之,乐之。本文作者力图将许先生理论基础和具体实践相结合,从而尝试对中国古典诗词中叠词的翻译作一个清楚明确的表述。
  在许先生翻译理论指导下,本文作者还探讨了中国古典诗词中叠词英译的一些方法,根据叠词的音形意三方面,分别进行了研究,指出通过合理的翻译方法,叠词是可以达到相当高的翻译效度的。

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