从模糊美学的角度论古诗意境的英译
|
摘要
古典诗词是中国文学的最重大的成就之一,也是世界文学宝库里一颗璀璨的明珠。而意境在中国古典诗学中是重要而独特的概念,一直被视为中国古典诗词的灵魂,是中国古典诗词美的载体。因此,从很大程度上来说,中国古典诗词的翻译问题就是如何转换其意境的问题。尽管中外许多学者和翻译家对此作了大量的实践和理论工作,翻译了许多好的作品并提出了许多宝贵的见解,然而由于意境内涵本身的复杂性,古典诗词翻译中的意境翻译问题是一个很重要但相当难以探索的领域,多数关于意境翻译的讨论都是经验之谈,很不充分,缺乏必要的理论指导。在现阶段,几乎每一个讨论古典诗词翻译的人都会谈到意境,但对于意境究竟是什么,还缺乏一个明确统一的认识。因此,目前对意境翻译问题的讨论呈现一种仁者见仁,智者见智的局面。通过对中外意境概念的初步然而系统的探讨,本文指出意境是情景交融的艺术形象和它所引发的想象的形象的总和。意境创造的实质并不仅仅在于情景交融,更在于创造“象外之象”,即境界,能够把读者带入一个广阔的遐想空间。因此,意境实际上是由作者和读者共同完成的。读者的主体性在意境创造过程中得到了充分体现。美学是评价文学及其翻译价值的重要方法。没有美,诗歌也就不复存在。中国古典诗词翻译从这个角度来看,就是如何在翻译过程中尽量保持其意境美。模糊美学认为开放性和不确定性,即模糊性是所有文学文本的本质特征。模糊性在中国古典诗歌意境中体现的尤为突出,这种模糊性表达方式集中体现了模糊美。本文探讨了中国古典诗歌英译的美学要求,以模糊美学为理论基础提出了古诗歌翻译的美学原则,即传递原诗模糊美。在此原则指导下,通过对比古典诗歌英译的不同译本,试图从意境的三个美学构成要素即意象,情,境,对原诗意境进行再创造,探讨如何在译文中传递原诗意境的模糊美。在对大量古诗词译诗进行比较鉴别的基础上,本文分别讨论归纳了原诗意境的三个基本美学要素在译诗中再现的有效转换技巧和方法。在此过程中,对译者的主体表现也进一步提出了意见和要求,特别是强调译者在努力再现原诗意境的同时,还应考虑译文读者在理解与欣赏译诗意境中的主体创造作用。具体对一整首诗的意境移植来说,本文也强调指出原诗意境的三个基本美学要素的再现均要以其整体审美意象的和谐转换为准。本项研究不仅明确提出了意境翻译过程中应把握的基本美学要素,而且研究分析了意境转换过程中的有效方法和技巧,具有较强的可操作性。希望本研究能为中国古典诗歌英译提供崭新的美学再创造空间。
Classical Chinese poetry is the most brilliant achievement of Chinese literature and also an irreplaceable literary heritage not only to Chinese people but also to the world. Imagery, an important and unique concept in the classical Chinese, is always regarded as the soul of classical Chinese poetry and beauty vehicle. Therefore, how to translate classical Chinese poetry successfully, to great extent, is equal to how to transfer the imagery existing in it sufficiently as a whole. For years, scholars and translators, both at home and abroad, have made significant efforts in translating the classical Chinese poetry, so as to present this precious Chinese cultural and literary heritage to the world. Among these translators, some of them not only give their outstanding renditions, but also have established their own valuable opinions on translating imagery in classical Chinese poetry. However, the translation of imagery in classical Chinese poetry is a very significant yet rather difficult subject to be explored. The difficulties mainly arise from the complexity of the connotations of imagery itself, therefore, most discussions on imagery translation are experience-based and inadequate, lacking in effective theory as guide in this aspect. At present almost every scholar uses the term imagery when discussing classical Chinese poetry translation, however, there is lacking in a clear and common understanding about it so far. Different people have different opinions about it. Based on a tentative yet systematic exploration into the conception of imagery at home and abroad, the present thesis points out that imagery consists in the totality of the artistic imagery characterized by a fusion of feelings with scenes plus the imagined images it triggers. The essence of imagery lies not simply in a fusion of feelings with scenes, but more in creating "images beyond images" that is, realm, which can provide readers with a vast imaginary sphere. Therefore, imagery is actually completed by both the author and the reader. The reader's subjectivity is fully manifested in the process of imagery. Aesthetics is an important approach to assessing the values of both literature and its translations. Without beauty, poetry could not find its dependence for existence. From this perspective, the translating process of classical Chinese poetry is the one how to preserve the beauty of its imagery. This thesis seeks to account for the aesthetic representation of imagery of classical Chinese poetry in English from the perspective of fuzzy Aesthetics. Aesthetics assumes that openness and indeterminacy—fuzziness—, are the nature of all literary texts. Fuzziness is inherent in imagery of classical Chinese poetry, in which fuzzy expressions produce fuzzy beauty. In this paper, on the theoretical basis of fuzzy aesthetics, the author explores the aesthetic nature of verse translation by addressing the aesthetic principle of "conveying fuzzy beauty" and attempts to examine transferring fuzzy beauty in terms of the three aesthetic elements composing of imagery in English translation of classical Chinese poetry. Through the extensively practical and comparative analysis of the different versions of various classical Chinese poems, effective techniques and methods concerning the translation of fuzzy beauty in imagery of the three aesthetic constituents of imagery are discussed and summarized. Meanwhile, further requirements on the subjective role the translator plays in the transference of imagery have been put forward. It is especially emphasized that the translator should take into consideration target readers' subjective creativity in understanding and enjoying the imagery of the translated poems. As far as the transference of imagery of a whole poem is concerned, it is also stressed that the reproduction of the three aesthetic constituents of imagery must be aimed at transferring its aesthetic images as a harmonious whole. It is hoped to provide an artistic re-creation space for English translation of classical Chinese poetry.
Classical Chinese poetry is the most brilliant achievement of Chinese literature and also an irreplaceable literary heritage not only to Chinese people but also to the world. Imagery, an important and unique concept in the classical Chinese, is always regarded as the soul of classical Chinese poetry and beauty vehicle. Therefore, how to translate classical Chinese poetry successfully, to great extent, is equal to how to transfer the imagery existing in it sufficiently as a whole. For years, scholars and translators, both at home and abroad, have made significant efforts in translating the classical Chinese poetry, so as to present this precious Chinese cultural and literary heritage to the world. Among these translators, some of them not only give their outstanding renditions, but also have established their own valuable opinions on translating imagery in classical Chinese poetry. However, the translation of imagery in classical Chinese poetry is a very significant yet rather difficult subject to be explored. The difficulties mainly arise from the complexity of the connotations of imagery itself, therefore, most discussions on imagery translation are experience-based and inadequate, lacking in effective theory as guide in this aspect. At present almost every scholar uses the term imagery when discussing classical Chinese poetry translation, however, there is lacking in a clear and common understanding about it so far. Different people have different opinions about it. Based on a tentative yet systematic exploration into the conception of imagery at home and abroad, the present thesis points out that imagery consists in the totality of the artistic imagery characterized by a fusion of feelings with scenes plus the imagined images it triggers. The essence of imagery lies not simply in a fusion of feelings with scenes, but more in creating "images beyond images" that is, realm, which can provide readers with a vast imaginary sphere. Therefore, imagery is actually completed by both the author and the reader. The reader's subjectivity is fully manifested in the process of imagery. Aesthetics is an important approach to assessing the values of both literature and its translations. Without beauty, poetry could not find its dependence for existence. From this perspective, the translating process of classical Chinese poetry is the one how to preserve the beauty of its imagery. This thesis seeks to account for the aesthetic representation of imagery of classical Chinese poetry in English from the perspective of fuzzy Aesthetics. Aesthetics assumes that openness and indeterminacy—fuzziness—, are the nature of all literary texts. Fuzziness is inherent in imagery of classical Chinese poetry, in which fuzzy expressions produce fuzzy beauty. In this paper, on the theoretical basis of fuzzy aesthetics, the author explores the aesthetic nature of verse translation by addressing the aesthetic principle of "conveying fuzzy beauty" and attempts to examine transferring fuzzy beauty in terms of the three aesthetic elements composing of imagery in English translation of classical Chinese poetry. Through the extensively practical and comparative analysis of the different versions of various classical Chinese poems, effective techniques and methods concerning the translation of fuzzy beauty in imagery of the three aesthetic constituents of imagery are discussed and summarized. Meanwhile, further requirements on the subjective role the translator plays in the transference of imagery have been put forward. It is especially emphasized that the translator should take into consideration target readers' subjective creativity in understanding and enjoying the imagery of the translated poems. As far as the transference of imagery of a whole poem is concerned, it is also stressed that the reproduction of the three aesthetic constituents of imagery must be aimed at transferring its aesthetic images as a harmonious whole. It is hoped to provide an artistic re-creation space for English translation of classical Chinese poetry.
引文
[1]A.C.Graham. Poems of Late Tang. Great Britain: Penguin Books. 1965.
[2] Adorno. T.W. Aesthetic Theory. London: Routledge & Kegan Paul. 1982.
[3]Ban Kosko. Fuzzy Thinking. The New Science of Fuzzy Logic. New York: Hperio. 1993.
[4]Eugene A. Nida. The Theory and Practice of Translation. 1969.
[5]E. Pound. The Cantos of Ezra Pound. New York: New Directions. 1970.
[6]Eugene A. Nida. Towards a Science of Translating. Shanghai: Shanghai Foreign Language Education Press. 2004.
[7]Fried, Daniel. Beijing's Crypto-Victorian: Traditionalist Influences on Hu Shi's Poetic Practice Comparative Critical Studies. 2006.
[8]Lotifa. A. Zadeh Knowledge Representation in Fuzzy in Fuzzy Logic. IEEE Trans. On Knowledge and Data Engineering.(1). 1989.
[9]Lotifa. A. Zadeh. Fuzzy Sets Information Control, (8). 1965.
[10]Lotifa. A. Zadeh. Foreword to Introduction to the Theory of Fuzzy Subsets. New York: Academic Press. 1975.
[11]Lotifa. A. Zadeh. Knowledge Representation in Fuzzy in Fuzzy Logic IEEE Trans. On Knowledge and Data Engineering. (1). 1989
[12] Liu, James, J.Y The Art of Chinese Poetry, University of Chicago Press. 1975.
[13] M. H. Abrams. A Glossary of Literary Terms. Beijing: Foreign Language Study and Research Press.2004.
[14] Spitz, Ellen Handler. Art and Psyche: A Study in Psychoanalysis and Aesthetics. London:Yale University Press. 1985.
[15]Smithson, M.J. Fuzzy Set Analysis for the Behavioral and Social Sciene. New York: Spring-Verlag. 1987.
[16] Yu, Pauline. The Reading of Imagery in the Chinese Poetic Tradition. Princeton. New Jersey: Princeton University Press. 1987.
[17]陈铭,《意与境-中国古典诗词美学三味》,浙江大学出版社。2001。
[18]邓海波,诗歌语言的魅力与翻译的传神,江西社会科学.2006年第1期。
[19]辜正坤,《中西诗比较鉴赏与翻译理论》,北京,清华大学出版社。2003。
[20]黄新渠,中国诗词英译的儿点看法,《翻译通讯》第5期。1981。
[21]姜秋霞,《文学翻译中的审美过程:格式塔意象再造》,商务印书馆。2002。
[22]林语堂,《论翻译》,北京,北京商务印书馆。1984。
[23]林语堂,《诗词翻译的艺术》,北京,中国对外翻译出版公司。1987。
[24]刘英凯,关于“音美”理论的再商榷,杨自俭、刘学云,《翻译新论》,武汉,湖北教育出版社。2003。
[25]罗平,古诗意象与古诗英译风格再现,吴友富(主编),外语与文化研究(第二辑),上海,上海外语教育出版社。2002。
[26]刘岩,意象派对中国古典诗歌的误译,四川外语学院学报。1999。
[27]刘重德,《文学翻译十讲》,中国对外翻译出版公司。1995。
[28]皮朝纲,《中国古代文艺美学概要》,成都,四川省会科学院出版社。1986
[29]吕叔湘(编),《中诗英译比录北京》,中华书局。2002。
[30]刘宓庆,《翻译美学导论》,书林出版公司。1995。
[31]孙迎春,文学翻译意境问题刍议,山东外语教学(3)。2000。
[32]孙大雨,《古诗文英译集》,上海,上海外语教育出版社。1997。
[33]石安石,.模糊语义及其模糊度,《语义研究》。北京,语文出版社。1994。
[34]童庆炳,《文学理论教程》高等教育出版社,2003。
[35]翁显良,《诗词翻译的艺术》,北京,中国对外翻译出版公司。1987。
[36]吴战垒,《中国诗学》,北京:东方出版社。1997。
[37]翁显良,“意象与声律”,《翻译通讯》,1985年第6期。
[38]文殊(选注),《诗词英译选》,北京,外语教学与研究出版社。1989。
[39]王天明,模糊美与诗歌翻译,《西安外国语学院学报》2000年第4期。
[40]王明居,《模糊美学》,中国文联出版公司。1998。
[41]王明居,走向二十一世纪的美学—模糊美学研究《学术界》第83期。2000。
[42]王振国,古诗英译比较--谈模糊语境的等值翻译。外语教学。2001。
[43]吴世雄,论从认知角度研究模糊语言的重要意义。《福建师范大学学报》第1期。1996。
[44]伍铁平,《模糊语言学》上海,上海外语教育出版社,1999。
[45]许渊冲,《中诗英韵探胜》——从“诗经”到“西厢记”,北京大学出版社。1997。
[46]谢天振,《译介学》,上海外语教育出版社。1999。
[47]奚永杰.,《文学翻译比较美学》武汉,湖北教育出版社,1999。
[48]辛献云,诗歌翻译中意象的改变,《西安外国语学院学报》,2001第2期。
[49]许渊冲,《汉英对照唐诗一百五十首》,北京大学出版社。1990。
[50]许钧等著,文学翻译的理论与实践:翻译对话录。南京,译林出版社。2001。
[51]袁锦翔,关于文学翻译和意境的札记,《外语教学与研究》第1期。1992。
[52]袁行霈,《中国诗歌艺术研究》,北京大学出版社。1996。
[53]叶维廉,道家美学与西方文化四,北京,北京大学出版社。2002。
[54]赵则诚主编,《中国古代文学理论词典》,吉林文史出版社。1985。
[55]朱徽,《中美诗缘》,四川人民出版社。2002。
[56]张虹,模糊与文学翻译—试析马致远《天净沙·秋思》的不同英译,安徽工业大学学报(社会科学版)(4)。2004。
[57]周建新,从模糊审美看诗意的传达,《山东外语教学》2002年第6期。
[58]宗白华,《中国艺术意境之诞生》,《宗白华全集》第二卷,安徽,安徽教育出版社。1994。
[2] Adorno. T.W. Aesthetic Theory. London: Routledge & Kegan Paul. 1982.
[3]Ban Kosko. Fuzzy Thinking. The New Science of Fuzzy Logic. New York: Hperio. 1993.
[4]Eugene A. Nida. The Theory and Practice of Translation. 1969.
[5]E. Pound. The Cantos of Ezra Pound. New York: New Directions. 1970.
[6]Eugene A. Nida. Towards a Science of Translating. Shanghai: Shanghai Foreign Language Education Press. 2004.
[7]Fried, Daniel. Beijing's Crypto-Victorian: Traditionalist Influences on Hu Shi's Poetic Practice Comparative Critical Studies. 2006.
[8]Lotifa. A. Zadeh Knowledge Representation in Fuzzy in Fuzzy Logic. IEEE Trans. On Knowledge and Data Engineering.(1). 1989.
[9]Lotifa. A. Zadeh. Fuzzy Sets Information Control, (8). 1965.
[10]Lotifa. A. Zadeh. Foreword to Introduction to the Theory of Fuzzy Subsets. New York: Academic Press. 1975.
[11]Lotifa. A. Zadeh. Knowledge Representation in Fuzzy in Fuzzy Logic IEEE Trans. On Knowledge and Data Engineering. (1). 1989
[12] Liu, James, J.Y The Art of Chinese Poetry, University of Chicago Press. 1975.
[13] M. H. Abrams. A Glossary of Literary Terms. Beijing: Foreign Language Study and Research Press.2004.
[14] Spitz, Ellen Handler. Art and Psyche: A Study in Psychoanalysis and Aesthetics. London:Yale University Press. 1985.
[15]Smithson, M.J. Fuzzy Set Analysis for the Behavioral and Social Sciene. New York: Spring-Verlag. 1987.
[16] Yu, Pauline. The Reading of Imagery in the Chinese Poetic Tradition. Princeton. New Jersey: Princeton University Press. 1987.
[17]陈铭,《意与境-中国古典诗词美学三味》,浙江大学出版社。2001。
[18]邓海波,诗歌语言的魅力与翻译的传神,江西社会科学.2006年第1期。
[19]辜正坤,《中西诗比较鉴赏与翻译理论》,北京,清华大学出版社。2003。
[20]黄新渠,中国诗词英译的儿点看法,《翻译通讯》第5期。1981。
[21]姜秋霞,《文学翻译中的审美过程:格式塔意象再造》,商务印书馆。2002。
[22]林语堂,《论翻译》,北京,北京商务印书馆。1984。
[23]林语堂,《诗词翻译的艺术》,北京,中国对外翻译出版公司。1987。
[24]刘英凯,关于“音美”理论的再商榷,杨自俭、刘学云,《翻译新论》,武汉,湖北教育出版社。2003。
[25]罗平,古诗意象与古诗英译风格再现,吴友富(主编),外语与文化研究(第二辑),上海,上海外语教育出版社。2002。
[26]刘岩,意象派对中国古典诗歌的误译,四川外语学院学报。1999。
[27]刘重德,《文学翻译十讲》,中国对外翻译出版公司。1995。
[28]皮朝纲,《中国古代文艺美学概要》,成都,四川省会科学院出版社。1986
[29]吕叔湘(编),《中诗英译比录北京》,中华书局。2002。
[30]刘宓庆,《翻译美学导论》,书林出版公司。1995。
[31]孙迎春,文学翻译意境问题刍议,山东外语教学(3)。2000。
[32]孙大雨,《古诗文英译集》,上海,上海外语教育出版社。1997。
[33]石安石,.模糊语义及其模糊度,《语义研究》。北京,语文出版社。1994。
[34]童庆炳,《文学理论教程》高等教育出版社,2003。
[35]翁显良,《诗词翻译的艺术》,北京,中国对外翻译出版公司。1987。
[36]吴战垒,《中国诗学》,北京:东方出版社。1997。
[37]翁显良,“意象与声律”,《翻译通讯》,1985年第6期。
[38]文殊(选注),《诗词英译选》,北京,外语教学与研究出版社。1989。
[39]王天明,模糊美与诗歌翻译,《西安外国语学院学报》2000年第4期。
[40]王明居,《模糊美学》,中国文联出版公司。1998。
[41]王明居,走向二十一世纪的美学—模糊美学研究《学术界》第83期。2000。
[42]王振国,古诗英译比较--谈模糊语境的等值翻译。外语教学。2001。
[43]吴世雄,论从认知角度研究模糊语言的重要意义。《福建师范大学学报》第1期。1996。
[44]伍铁平,《模糊语言学》上海,上海外语教育出版社,1999。
[45]许渊冲,《中诗英韵探胜》——从“诗经”到“西厢记”,北京大学出版社。1997。
[46]谢天振,《译介学》,上海外语教育出版社。1999。
[47]奚永杰.,《文学翻译比较美学》武汉,湖北教育出版社,1999。
[48]辛献云,诗歌翻译中意象的改变,《西安外国语学院学报》,2001第2期。
[49]许渊冲,《汉英对照唐诗一百五十首》,北京大学出版社。1990。
[50]许钧等著,文学翻译的理论与实践:翻译对话录。南京,译林出版社。2001。
[51]袁锦翔,关于文学翻译和意境的札记,《外语教学与研究》第1期。1992。
[52]袁行霈,《中国诗歌艺术研究》,北京大学出版社。1996。
[53]叶维廉,道家美学与西方文化四,北京,北京大学出版社。2002。
[54]赵则诚主编,《中国古代文学理论词典》,吉林文史出版社。1985。
[55]朱徽,《中美诗缘》,四川人民出版社。2002。
[56]张虹,模糊与文学翻译—试析马致远《天净沙·秋思》的不同英译,安徽工业大学学报(社会科学版)(4)。2004。
[57]周建新,从模糊审美看诗意的传达,《山东外语教学》2002年第6期。
[58]宗白华,《中国艺术意境之诞生》,《宗白华全集》第二卷,安徽,安徽教育出版社。1994。