模糊美学对翻译中国古典诗歌的影响 [10]
论文作者:www.51lunwen.org论文属性:课程作业 Coursework登出时间:2014-05-27编辑:lzm点击率:14880
论文字数:6916论文编号:org201405270954364736语种:英语 English地区:中国价格:免费论文
关键词:模糊美学中国古典诗歌翻译Fuzzy AestheticsTranslation of Classical Chinese Poem文学翻译
摘要:In the thesis, the author tries to make study of classical Chinese poetry translation from the perspective of fuzzy aesthetics, which is a new perspective of study for literary translation. While emphasizing the importance of transferring fuzzy aesthetics, transfer original aesthetics one hundred percent is simply impossible in many cases.
h and her mourning on the fall of Northern Song dynasty. But in the author's point of view, it is the musicality evoked by the unique rhyme and reiterations that makes the lyric a never fading masterpiece. The magic musical power mainly comes from Li's deftly use of reiteration locution. Altogether there are seven pairs of reiteration sounds in this part of the lyric. Respectively they are 1.寻寻2.觅觅 3.冷冷 4.清清5.凄凄6.惨惨7.戚戚8.点点9.滴滴. Reiteration or the homophonic pairs of characters can prolong sound and thus add sentimental flavor to the lyric as sentimental melodies are usually played on soft and slow tunes, like the famous serenade composed by Schubert. People are enchanted by the sound aesthetics in the lyric even before they really get the meaning between the lines. A kind of fuzzy aesthetics permeated through the lyric mainly because of the sound effect. So whether the translation of this lyric preserves the fuzzy aesthetics or not is totally decided by how the translator deals with the unique rhyme and the nine pairs of homophonic characters.
The problem of version 1 is the lack of variety in words and sounds arrangement even though the translator uses alliteration of /s/, /k/ and the assonance /seek/ /clear/. In version 1, the translator tries to imitate the original form by sheer repetition. But there is little poetic aesthetics produced in this poem, because it lacks associative connections between each group of repeated words. So the rhetorical use of words repetition does not play its role in the whole context. The first stanza is translated as “Search. Search. Seek. Seek. Cold. Cold. Clear. Clear. Sorrow. Sorrow. Pain. Pain.” Although this version can be regarded as the most faithful to the original among the three versions, the clumsy repetition fails to create the musical effect. The simple juxtaposition of the six words read like broken pieces lacking the original music sense of flowing water. Compared with “寻觅”, “寻寻觅觅” is not only the repetition of two characters, it actually slow down the inner rhythm of the lyric. In English poetry, there are also some cases o reiteration. For example, “Tiger! Tiger! Burning bright. In the forests of the night.” (William Blake, The Tiger) “Break, break, break. On thy cold gray stone O Sea!” (Alfred, Lord Tennyson Break, Break Break). The reiteration of “tiger or break” efficiently emphasizes the music sense but too much use can only reduce the effect. “Search, search. Seek, seek..." Seven pairs of repetition sound like a monotonous melody which has only two notes-doe, ray, doe ray... As a result, the lack of variety in version 1 drains the last drop of aesthetics in the origin while the seven mechanic repetitions dull the reader and almost all the fuzz aesthetics embedded in the original sound is lost.
Compared with version 1, version 2 and version 3 are better in transferring the fuzzy aesthetics in sound. Especially Lin Yutang’s translation, using /t/, /d/ for rhyme and /d/ sound for alliteration, conveys the original sound aesthetics to a higher degree. “So dim, so dark, so dense, so dull, so damp, so dank, so dead” can be regarded as a fine replacement to “寻寻觅觅,冷冷清清,凄凄惨惨戚戚. ” “So” is repeated seven times, leading seven various words, thus avoiding the dull sense in version one. All fine arts contain two elements-repetition and variation. The composer of music finishes a great piece by repeating certain musical notes in various combinations, or chords. Likewise,
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