英语论文网

In literary translation studies, there is an age-old opposing view about the translatability and untranslatability of poetry. Nida (2001) pointed out that “in the rendering of poetry, the tension between form and content and the conflict between formal and dynamic equivalences are acutely present.” Many theorists, especially those from the literarily-oriented schools of translation theory, have constantly cast doubt on the very translatability of poetry. Daniel Weissbort (1989: ix) calls the ‘poetic’ translation of poetry “that most problematic and challenging mode of translation.” However, too much attention has been focused on the problem of untranslatability at the expense of solving some of the actual problems that the translator has to deal with (Bassnett 2004: 35). Therefore it has little value for us to stick to the untranslatable aspects, if our purpose is to solve some practical problems in poetry translation.

The presence of the images of different kinds within a poem, however, does not suffice to justify the very translatability of Chinese poetry. There are still other reasons, as Liu Zhongde (1998) puts it, to determine the possibility of poetic translation: first of all, all human beings are endowed by nature with the same mind which has the same function so that they can commune with one another, therefore poetry as a product of the mind, is understandable, enjoyable and translatable; second, the translatability of poetry has already been demonstrated by quantities of historical facts.

Since the meaning of any utterance is complicated, multidimensional, it is a network of relation. Newmark (2006: 35) aptly defines translation as an act of filling the gaps between languages. On the basis of this definition comes the statement that “every variety of meaning can be transferred, and therefore, unequivocally that everything can be translated” (Newmark 2006: 28). This point of view bears a striking similarity to Nida’s (2001) conclusion that anything that can be said in one language can certainly be said in another.

However, Newmark also emphasizes that the translatability of any text does not necessarily mean that every relevant aspect of meaning in a text should be brought out and accurately reproduced in the target language. On the contrary, the translator must choose, weigh and measure, or compare different equivalents and vehicles of meaning according to the different intentions of the translated test and the translator’s own intention.

Translation, as he points out in his Paragraphs on Translation, “becomes approximation as soon as there is choice-given the different grammars, the vast differences in lexical quantities, the quirky lexical gaps, the cultural disparities.” “Just as acting is a judgment of character, so too the translator judges the character of what she/he translates.”

4.2 The Principle to Follow in Translating Images in Chinese Poetry 

In a world of globalization, to deal with the image in Chinese poetry, Schleiermacher’s proposal should be constantly followed to retain the cultural differences and introduce the cultural “otherness” to the target readers. It means the cultural communication can truly achieved on the basis of cultural relativism.

In order to represent and recreate the original poem’s spirit, its universality of ref本论文由英语论文网提供整理，提供论文代写，英语论文代写，代写论文，代写英语论文，代写留学生论文，代写英文论文，留学生论文代写相关核心关键词搜索。