美国诗人Longfellow的代表诗作之一A Psalm of Life是第一首被翻译成汉语的英语诗歌,其句式整齐,音韵谐美,基调慷慨激昂。文章以许渊冲先生的"三美论"为理论视角,分析了六个典型汉译本中形美、音美与意美的再现,其中黄皋炘先...美国诗人Longfellow的代表诗作之一A Psalm of Life是第一首被翻译成汉语的英语诗歌,其句式整齐,音韵谐美,基调慷慨激昂。文章以许渊冲先生的"三美论"为理论视角,分析了六个典型汉译本中形美、音美与意美的再现,其中黄皋炘先生译文更好地再现了原文之"三美"。因此,对该诗进行翻译,译者要在同时精通原语与译入语,用中国传统诗歌题裁翻译限制较多,选择"以顿代步"是可行之法。展开更多
A Psalm of Life是美国诗人朗费罗(Longfellow)最负盛名的代表作之一,该诗的翻译在译介传播和中国文化史上意义重大。以A Psalm of Life为例,运用自建平行语料库,对英文源文及三个代表性汉译本在词汇选择、语篇特征和韵律特征三个译者...A Psalm of Life是美国诗人朗费罗(Longfellow)最负盛名的代表作之一,该诗的翻译在译介传播和中国文化史上意义重大。以A Psalm of Life为例,运用自建平行语料库,对英文源文及三个代表性汉译本在词汇选择、语篇特征和韵律特征三个译者风格维度进行客观量化分析,从而探究译者风格差异和翻译技巧,拓宽诗歌语言语料库译者风格研究视野。展开更多
英语诗歌应该以什么样的译本作为翻译终点,国内翻译界近年来一直以贴近原文的自由体诗歌翻译为主,通过对A Psalm of Life两个译本进行对比研究和仔细分析,发现自由体诗歌翻译虽然不受韵律的限制,能更好保留原诗的意义;而传统的七言或五...英语诗歌应该以什么样的译本作为翻译终点,国内翻译界近年来一直以贴近原文的自由体诗歌翻译为主,通过对A Psalm of Life两个译本进行对比研究和仔细分析,发现自由体诗歌翻译虽然不受韵律的限制,能更好保留原诗的意义;而传统的七言或五言诗体受到字数和韵律的限制,有的地方意思表达就不如自由体那样明白、畅快。但古体因为有了字数和韵律的限制,更注重用词考究,更锻炼译者的炼字功夫,而且,因为有了韵律而翻译出来的译本更像是一首诗。而要把英文诗翻译成古体诗,译者一定要准确理解原文意思,对原文的意思一定要心领神会,然后再进行翻译。在翻译中,译者应该以原文意义为准绳,直译为主,意译为辅,先翻译出原文意义,然后再提炼成传统的诗歌语言。另外,该诗积极向上,铿锵有力,翻译时,应该尽量保留原文本所具有的风格和艺术感染力。展开更多
早在20世纪70年代,凯瑟琳娜·赖斯在其著作《翻译批评:潜力与制约》中从功能翻译角度审视翻译过程,提出了评估译文的客观公正的标准,即以文本类型为导向,结合语言因素、翻译功能等综合因素的系统翻译批评模式[1]。该文此模式对比分...早在20世纪70年代,凯瑟琳娜·赖斯在其著作《翻译批评:潜力与制约》中从功能翻译角度审视翻译过程,提出了评估译文的客观公正的标准,即以文本类型为导向,结合语言因素、翻译功能等综合因素的系统翻译批评模式[1]。该文此模式对比分析亨利·沃兹沃斯·朗费罗A Psalm of Life最具代表性的两个中文译本,分别是黄新渠先生的译本《生命的赞礼》与黄杲炘先生的译本《生之颂》。黄新渠先生的译文在上更忠实于原作,遣词造句更接近原作;而黄杲炘先生的译文则句式灵活多变,译文风格、格式韵律方面更多考虑到了译文的语言因素和语用因素,两篇译作各有千秋,巧用不同的翻译策略和技巧,使其译文质量有所保障。展开更多
A Psalm of Life is one of the best-known lyric poems of Wadsworth Longfellow.In this paper,the author will make a preliminary study of the poem.According to the author of this thesis,the poem's popularity and repu...A Psalm of Life is one of the best-known lyric poems of Wadsworth Longfellow.In this paper,the author will make a preliminary study of the poem.According to the author of this thesis,the poem's popularity and reputation has much matter with its inspirational ideas and unique artistic features,which have been highly combined as a harmonious union in the poem.Therefore,the analysis of this paper will be extended from these two aspects.展开更多
The existing research of literature on sound description in classical Chinese poetry has predominantly centered around Tang poetry and its lyrical aesthetics,with a particular focus on recurring typified images such a...The existing research of literature on sound description in classical Chinese poetry has predominantly centered around Tang poetry and its lyrical aesthetics,with a particular focus on recurring typified images such as“the call of the cuckoo,”“the howl of the ape,”“the toll of the bell,”and“the pitter-patter of the night rain.”The research paradigm has been somewhat one-dimensional.This paper examines the poems of Fan Chengda,a poet from the Southern Song Dynasty,to showcase the new exploration that Song poetry has made in sound description.Fan’s poetry,characterized by its realistic portrayal of everyday life,offers rich descriptions of the“sounds of urban life”—An imagery closely intertwined with the urban forms and commercial culture of the Song Dynasty.Through detailed narratives,Fan reinforces the emotional connotations and symbolic meaning of this imagery.Departing from the traditional focus on artistic conception prevalent in classical Chinese poetry,Fan’s work highlights the depiction of reality and affinity for everyday life.By presenting real-world sounds in a distorted manner,drawing on the psychological construct of“dreams,”Fan carries forward the artistic expression pioneered by the Northern Song poet Huang Tingjian.Moving beyond the lyrical aesthetics of Tang poetry marked by the“fusion of emotion and the natural setting,”Fan explores a novel approach,articulating his inner world through the medium of sound,showcasing the distinctive artistic qualities of Song poetry.展开更多
文摘美国诗人Longfellow的代表诗作之一A Psalm of Life是第一首被翻译成汉语的英语诗歌,其句式整齐,音韵谐美,基调慷慨激昂。文章以许渊冲先生的"三美论"为理论视角,分析了六个典型汉译本中形美、音美与意美的再现,其中黄皋炘先生译文更好地再现了原文之"三美"。因此,对该诗进行翻译,译者要在同时精通原语与译入语,用中国传统诗歌题裁翻译限制较多,选择"以顿代步"是可行之法。
文摘A Psalm of Life是美国诗人朗费罗(Longfellow)最负盛名的代表作之一,该诗的翻译在译介传播和中国文化史上意义重大。以A Psalm of Life为例,运用自建平行语料库,对英文源文及三个代表性汉译本在词汇选择、语篇特征和韵律特征三个译者风格维度进行客观量化分析,从而探究译者风格差异和翻译技巧,拓宽诗歌语言语料库译者风格研究视野。
文摘英语诗歌应该以什么样的译本作为翻译终点,国内翻译界近年来一直以贴近原文的自由体诗歌翻译为主,通过对A Psalm of Life两个译本进行对比研究和仔细分析,发现自由体诗歌翻译虽然不受韵律的限制,能更好保留原诗的意义;而传统的七言或五言诗体受到字数和韵律的限制,有的地方意思表达就不如自由体那样明白、畅快。但古体因为有了字数和韵律的限制,更注重用词考究,更锻炼译者的炼字功夫,而且,因为有了韵律而翻译出来的译本更像是一首诗。而要把英文诗翻译成古体诗,译者一定要准确理解原文意思,对原文的意思一定要心领神会,然后再进行翻译。在翻译中,译者应该以原文意义为准绳,直译为主,意译为辅,先翻译出原文意义,然后再提炼成传统的诗歌语言。另外,该诗积极向上,铿锵有力,翻译时,应该尽量保留原文本所具有的风格和艺术感染力。
文摘早在20世纪70年代,凯瑟琳娜·赖斯在其著作《翻译批评:潜力与制约》中从功能翻译角度审视翻译过程,提出了评估译文的客观公正的标准,即以文本类型为导向,结合语言因素、翻译功能等综合因素的系统翻译批评模式[1]。该文此模式对比分析亨利·沃兹沃斯·朗费罗A Psalm of Life最具代表性的两个中文译本,分别是黄新渠先生的译本《生命的赞礼》与黄杲炘先生的译本《生之颂》。黄新渠先生的译文在上更忠实于原作,遣词造句更接近原作;而黄杲炘先生的译文则句式灵活多变,译文风格、格式韵律方面更多考虑到了译文的语言因素和语用因素,两篇译作各有千秋,巧用不同的翻译策略和技巧,使其译文质量有所保障。
文摘A Psalm of Life is one of the best-known lyric poems of Wadsworth Longfellow.In this paper,the author will make a preliminary study of the poem.According to the author of this thesis,the poem's popularity and reputation has much matter with its inspirational ideas and unique artistic features,which have been highly combined as a harmonious union in the poem.Therefore,the analysis of this paper will be extended from these two aspects.
文摘The existing research of literature on sound description in classical Chinese poetry has predominantly centered around Tang poetry and its lyrical aesthetics,with a particular focus on recurring typified images such as“the call of the cuckoo,”“the howl of the ape,”“the toll of the bell,”and“the pitter-patter of the night rain.”The research paradigm has been somewhat one-dimensional.This paper examines the poems of Fan Chengda,a poet from the Southern Song Dynasty,to showcase the new exploration that Song poetry has made in sound description.Fan’s poetry,characterized by its realistic portrayal of everyday life,offers rich descriptions of the“sounds of urban life”—An imagery closely intertwined with the urban forms and commercial culture of the Song Dynasty.Through detailed narratives,Fan reinforces the emotional connotations and symbolic meaning of this imagery.Departing from the traditional focus on artistic conception prevalent in classical Chinese poetry,Fan’s work highlights the depiction of reality and affinity for everyday life.By presenting real-world sounds in a distorted manner,drawing on the psychological construct of“dreams,”Fan carries forward the artistic expression pioneered by the Northern Song poet Huang Tingjian.Moving beyond the lyrical aesthetics of Tang poetry marked by the“fusion of emotion and the natural setting,”Fan explores a novel approach,articulating his inner world through the medium of sound,showcasing the distinctive artistic qualities of Song poetry.
