摘要
诗歌与绘画之间的亲缘关系决定了绘画性是诗歌和诗歌翻译的内在特征,绘画性是诗歌翻译中必须考虑的重要因素。梁宗岱的法译《陶潜诗选》整体上是一个将绘画性融于诗歌翻译的成功案例。除绘画般的视觉效应之外,梁译陶诗的绘画性主要体现在两个方面:一是对中西方绘画手法、技法和原理的借用;二是对绘画思想和理念的借鉴。前者突出体现在对空间表现手法和原理的借用上,后者主要在于具象化的手法和效果。梁宗岱个人的绘画品鉴能力,诗歌创作风格,"纯诗"创作理念,以及诗歌翻译观都是其译诗绘画性的根源。
Poetry and its translation are intrinsically characterized by painterliness due to the kinship between poetry and paint-ing, which defines painterliness a crux in poetry translation. Representatively, Liang Zongdai' s Les Podmes de T' ao Ts' ien, asa whole, successfully incarnates the painterliness of poetic rendition. Besides the painterly aesthetic visional effect, Liang' sFrench renderings of Tao Yuanming' s poems epitomize painterliness in two facets: the application of techniques and principles ofspace representation borrowed from painting arts, and the concretization of vague and abstract expressions of the source texts. Li-ang's artistic appreciation, his own experience of poetry creation, his pursuance for "Pure Poetry" and his views on poetrytranslation are the deep roots of the painterliness of his Les Podmes de T' ao Ts' ien.
出处
《外语教学》
CSSCI
北大核心
2017年第1期80-85,共6页
Foreign Language Education
关键词
梁宗岱
法译《陶潜诗选》
绘画性
空间表现
具象化
Liang Zongdai ( Liang Tsong TaX)
Les Podmes de T' ao Ts'/en
painterliness
space representation
coneretiza-tion