唐诗主语省略英译补出现象－解读文化差异及意境不可译性

1、 窗体底端窗体顶端窗体底端浙江大學學報(人文社會科學版)36卷6期 頁數：10需求點數：40電子全文： 請登入.系統識別號583881篇名唐诗主语省略英译补出现象解读文化差异及意境不可译性並列篇名translation of subject ellipsis in tang poetry作者陈伟英(wei-ying chen)刊名浙江大學學報(人文社會科學版)卷期出版年月36卷6期(2006/11)頁次177-186資料語文中文摘要省略是语言中的常见现象，汉语无论在书面语或口语表达上，都存在大量的主语省略现象，而英语特别是英语的正式书面表达中则少有主语的省略。英汉主语省略的差异不仅来自这两种极

2、不相同的语言本身，更主要的是来自两种语言背后起支撑和依托作用的文化。因为语言不能离开文化而存在，语言的历史和文化的历史是相辅相成、互相协助和发展的。通过唐诗“主语省略”英译个案的考察和分析，可以论证这种差异离不开文化和思维方式的深层因素，进而证实诗歌翻译中意境具有不可译性。 subject ellipsis (also known as null subject) is a common phenomenon cross-linguistically. but english is probably least known as a language in which subject elli

3、psis in finite clauses may occur. in fact, english is known to be a highly grammar-oriented language with respect to impermissibility of subject ellipsis in finite clauses and extensive use of dummy subject to keep the subject position filled . that is to say, subject ellipsis is not commonly seen i

4、n english. but subject ellipsis in chinese is the most common phenomenon, whether in spoken or written discourses. the differences between english and chinese ellipsis can only be explained by the specific context of culture. because the cultures are different, there will be differences in elliptica

5、l expressions in terms of structure, meaning, function or uses. if we say english is a highly grammatically-oriented language, then chinese a semantically-oriented one. based on the study of the translation of subject ellipsis in the chinese tang poetry, the differences between english and chinese c

6、ultures can be identified. the difference between ellipsis in english and chinese not only derives from the differences in the two vastly distinct languages, but mainly from the culture that supports and constructs these languages. a cultural perspective is adopted in the article with a view to furt

7、her understanding the different characteristics of both languages and both nations in terms of their ways of thinking. chinese culture is more emotional, sensitive and intuitive while western culture is more intellectual, rational and theoretical. if we compare their orientations of the use of langu

8、age, we see that the western mode is largely direct, explicit, verbal, relying heavily on logical and rational perception, thinking, and articulation. the manner of expression or style often seems unnecessarily complicated and abstract. in the east, the primary source of interpersonal understanding

9、is the unwritten and often unspoken norms, values and ritualized mannerisms relevant to a particular interpersonal context. thus, the chinese mode of communication is indirect and implicit in which a lot is supposed and implicitly said, or vaguely said. westerners tend to insist on making very expli

10、cit arrangements and use language in an instrumental way. western culture and its way of thinking tend to be analytic, i. e. taking things in isolation from each other. consequently, their language, english, for instance, would tend to be more elaborate with regard to the meanings of speakers and he

11、arers. in contrast, chinese philosophy and culture as a whole tends to be synthetic or hoslistic, i. e. taking things in relation to one another. as a result, in their ways of speaking, they tend to be economical, hence elliptic and vague in their use of language, since the cultural pattern of think

12、ing will have already filled up the gaps as it were. in the study of the translation of subject ellipsis in chinese classical poetry (especially poems of the tang dynasty), it is found that most of the elliptic and vague expressions have been translated and transformed into complete, definite and ex

13、plicit ones. the great pity is that the essence and artistic conception of the original poems are to the greatest extent sacrificed and become tasteless. in the original poems, the poet himself is lost from the lines. he simply arranges all the things, situations, symbols and images into a relations

14、hip of harmony, leaving readers great space to feel, think and recreate. in the translated versions, translators use such different pronouns as i, my, you, she, etc. to refill the gap, thus producing more dramatic, prosaic, intrusive effects on the readers mind. it is assumed that the s state of mind cannot remain intact in the process of transcoding from one language to another. though it is commonly believed that translation is to a large extent dependent on the cultural sensitivity, it is proved in this article that translation may well reflect the d