论文：主述位理论观照下的中国古典诗歌英译

-.z中国古典诗歌论文：主述位理论观照下的中国古典诗歌英译【中文摘要】诗歌是一种特殊的文学样式,言简意赅、含义隽永。中国古典诗歌与英语诗歌受语言文化等诸多因素的影响,迥然相异。翻译难,翻译诗歌更难。国内外学者在中国古典诗歌的英译中已付出巨大的努力,取得了较为丰硕的成果。但传统的翻译研究是从哲理和文艺的角度出发,讨论重点是笔调、风格、韵味、精神等译文与原文中的艺术要素。后来,随着语言学派的兴起,语言学的成果被运用到翻译研究中去,从语义、句法、语用等方面分析和讨论翻译中的等值和转换单位等问题,力求做到客观、准确、系统、科学。与传统的翻译研究不同,本文旨在将主述位理论运用于中国古典诗歌翻译研究,探讨诗歌小句与篇章的衔接关系,解读诗歌信息构造模式及翻译转换规律。翻译是在语篇而非字、词、句的层面上实现的。翻译的最终是实现语篇层次的相对对等。贝克认为语篇层次的翻译对等主要是通过衔接和信息组织(尤其是主述位构造)来实现的。而主位模式作为一种信息构造,是作者交际意图的外观,因而理应成为构建译文时不可或缺的重要参照。这就意味着译者在译文中需要重建源文的信息组织构造,以便顺应译语规*,构建出衔接得当,语意连贯的译文,使得译文承受者的反响与原文承受者的反响根本一样,实现翻译对等。本文首先指出此项研究的研究、研究意义和研究方法。接着,对中国古典诗歌翻译的中外研究现状及主述位理论在翻译中的研究现状进展综述,指出此研究领域的缺乏。在介绍了本项研究的理论框架之后,作者对中国古典诗歌及英诗的主、述位及主位推进模式的特点进展了分析比较,说明两者在语言构造上的差异,为中国古典诗词的英译找到翻译的标准和依据。然后,作者对几首典型中国古典诗歌的英译版本分别从小句和语篇的层次,探讨中国古典诗歌英译的方法及策略。作者认为,主述位理论是可以运用于中国古典诗歌翻译的。诗歌中的主位构造及其推进模式受到各自语言的影响,表达出了各自不同的特点。在中国古典诗歌英译时,为了使目标语读者获得与源语读者同样的效果,应该遵循英诗在主位构造及其推进模式的特点。研究发现：首先,在主位选择上,原诗中的一些省略主位要得以补充；标记主位尽可能得以保存,一些情况下,虽然原诗中没有使用标记主位,译文为了再现诗歌格律和声韵要使用标记主位；复项主位频繁在英译文中使用,为了实现连贯,方便目标语读者。其次,在主位推进模式选择上,在不影响原诗意思及诗人情感传达的情况下,尽可能保存原诗的主位推进模式；但当译文采用原诗同样的主位推进模式会产生不一样的表达效果时,译文可以重新构建新的主位推进模式。总之,中国古典诗歌的英译只有顺应英语诗歌的主位构造及主位推进模式,才能构建出衔接得当,语意连贯的译文,再现原诗所产生的交际效果。【英文摘要】Poetryisaspecialkindofliterarystyle,concisebutmeaningful.ClassicalChinesepoetryvariesalotfromEnglishpoetryowingtomanyfactorslikelanguage,cultureandsoon.Translationisdifficult,andpoetrytranslationisevenmoredifficult.DomesticandforeignscholarshavedoneagreatdealofeffortsintheEnglishtranslationofclassicalChinesepoetry,andhaveachievedalot.Buttraditionaltranslationstudiesarealwaysfromthepointofviewofphilosophyandculture,withthefocusonsuchelementsofartastone,style,flavor,spirit.Later,withthedevelopmentoflinguistics,theresultsoflinguisticsareappliedtothestudyoftranslation.Suchissuesastranslationequivalenceandtranslationunitbegintobediscussedandanalyzedfromtheperspectivesofsemantics,synta*,andpragmaticsandsoon,strivingtobeobjective,accurate,systematicandscientific.Differentfromthetraditionaltranslationstudies,thispaperseekstoapplyTheme-RhemetheorytothetranslationstudyonclassicalChinesepoetry,approachesthechoherenceofpoemsatthelevelsofclauseandte*t,andtriestointerprettheinformationstructuremodelsofpoemsandrulesoftheirtranslation.Translationisrealizedatte*tlevelinsteadofatword,phraseorsentencelevel.Theultimategoaloftranslationistoachievearelativeequalatte*tlevel.Bakerholdsthatequivalenttranslationatte*tlevelisrealizedbymeansofcohesionandinformationorganization(especiallythematicstructure).Thematicpattern,asakindofinformationstructure,istherepresentationofmunicators’intent,whichshouldbeanindispensablereferenceintargette*ts’construction.Sotranslatorsneedtorebuildtheinformationstructureofsourcete*ts,forthepurposeofconformingtothespecificationsoftargetlanguageandconstructingcohesiveandcoherenttargette*ts.Thus,targetreaderswillhavethesameresponseasreadersofthesourcete*t.Thispaperfirstlyintroducesthesignificanceofthestudy,themethodologyadopted.Ne*titreviewsthestudiesonclassicalChinesepoetrytranslationandapplicationofTheme-Rhemetheoryintranslationbothathomeandabroad,furtherpointingoutgapsinthefield.Afterpresentingthetheoreticalframeworkforthisstudy,thepaperconductsacontrastivestudyofthematicstructureandthematicprogressionbetweenEnglishandclassicalChinesepoems,aimingtoshowthedifferencesintheirlanguagestructures,andfindoutthecriterionandbasisforEnglishtranslationofclassicalChinesepoetry.ThenEnglishversionsofsometypicalclassicalChinesepoemsareanalyzedatlevelsofclauseandte*t,e*ploringtheapproachesandstrategiestoEnglishtranslationofclassicalChinesepoetry.Intheauthor’sopinion,Theme-RhemetheorycanbeappliedtoEnglishtranslationofclassicalChinesepoetry.Influencedbytheirownlanguage,EnglishpoemsandclassicalChinesepoemsreflectdifferentcharacteristicsinthematicstructureandthematicprogression.InEnglishtranslationofclassicalChinesepoetry,thecharacteristicsofthematicstructureandthematicprogressionofEnglishpoemsshouldbeabidedbysoastocreatetheequaleffectontargetreadersasthatontheoriginalones.Whatthestudyunveilsisasfollows:Firstofall,concerningthechoiceoftheme,theellipticalthemesinsourcepoemsaretobeplemented;Markedthemesaretobepreservedifpossible,butundersomecircumstances,althoughmarkedthemesaren’tusedinsourcepoems,theyareadoptedinthetargetonesinthepursuitofrhyme;multiplethemesarefrequentlyutilizedinEnglishversionstoachievecoherencefortragetreaders’sake.Then,asregardsthematicprogressionpatterns,theoriginalonesaretobekepttothegreatestpossibleonthebasisofnotharmingthemeaningofsourcepoemsandthedeliveryofpoets’emotion;butifthesamethematicprogressionpatternsemployedintargetpoemsbringsaboutadifferenteffect,someadjustmentsaretobemadetoreconstructthethematicprogressionpatternsofthetargette*ts.Inaword,inEnglishtranslationofclassicalChinesepoetry,onlywhenplyingwiththespecificationsofthematicstructureandthematicprogressionofEnglishpoetrycanaproperlycohesiveandsemanticallycoherenttargette*tbeconstructed,andthesamemunicativeeffectcanbereproduced.【关键词】中国古典诗歌翻译对等语篇主述位理论主位主位推进【英文关键词】classicalChinesepoetryequivalenttranslationte*tTheme-Rhemetheorythemethematicprogression【目录】主述位理论观照下的中国古典诗歌英译

Acknowledgements

4-5

Abstract

5-6

摘要

7-9

Contents

9-11

ListofFiguresandTables

11-12

ChapterOneIntroduction

12-17

1.1BackgroundoftheStudy

12-14

1.2SignificanceoftheStudy

14-15

1.3MethodologyoftheStudy

15

1.4OrganizationoftheThesis

15-17

ChapterTwoLiteratureReview

17-25

2.1ASurveyoftheStudyonClassicalChinesePoetryTranslation

17-22

2.1.1TheDevelopmentoftheTranslationofClassicalChinesePoetryinChina

17-20

2.1.2TheDevelopmentoftheTranslationofClassicalChinesePoetryAbroad

20-22

2.2ASurveyofApplicationofTheme-RhemeTheoryinTranslationStudies

22-25

2.2.1RelevantStudiesAbroad

22-23

2.2.2RelevantStudiesatHome

23-25

ChapterThreeTheoreticalFramework

25-39

3.1Te*t

25-26

3.2Theme

26-33

3.2.1TheNotionofTheme

26-27

3.2.2TheClassificationofTheme

27-33

3.3ThematicProgression

33-36

3.4TranslationEquivalence

36-39

ChapterFourAContrastiveStudyofThematicStructureandThematicProgressioninEnglishandClassicalChinesePoems

39-54

4.