漢詩(shī)英譯中的“神似”【開(kāi)題報(bào)告+文獻(xiàn)綜述+畢業(yè)論文】

1、<p><b>　　畢業(yè)論文開(kāi)題報(bào)告</b></p><p><b>　　英語(yǔ)</b></p><p>　　漢詩(shī)英譯中的“神似”</p><p>　　一、選題的背景、意義（所選課題的歷史背景、國(guó)內(nèi)外研究現(xiàn)狀和發(fā)展趨勢(shì)）</p><p><b>　?。ㄒ唬v史背景</b>

2、;</p><p>　　中國(guó)古代的詩(shī)詞歌賦可謂是歷史遺留至今的一大瑰寶，隨著社會(huì)和經(jīng)濟(jì)的不斷發(fā)展，特別是全球一體化的進(jìn)程加快，我國(guó)古代詩(shī)歌的翻譯越來(lái)越受到各界文人學(xué)者的關(guān)注。但是漢詩(shī)的博大精深往往使得英譯工作變得越加困難，有不少人認(rèn)為譯文不僅難以復(fù)制原作的感情，還會(huì)破壞其原有的魅力與精髓。嚴(yán)復(fù)就曾說(shuō)過(guò)，有些文學(xué)作品根本不可譯，尤其是詩(shī)，因?yàn)樵?shī)歌的內(nèi)容和形式緊密結(jié)合，難以分割。</p><p&g

3、t;　　在英譯過(guò)程中，“形”與“神”的問(wèn)題一直都是備受翻譯界爭(zhēng)議的話(huà)題之一，雖然從根本上來(lái)說(shuō)兩者互為依存，但現(xiàn)今大家比較認(rèn)可的觀點(diǎn)是：爭(zhēng)取英譯在意、形兩方面盡量表現(xiàn)原詩(shī)之美，忠于原作，達(dá)到神似、形似之要求。若二似無(wú)法兼顧，則舍形似而力保最重要的神似?！吧袼啤边@一概念首先是由著名的翻譯家傅雷先生提出，朱生豪也有“保持原作之神韻”的觀點(diǎn)，爾后，許淵沖提出了“三美論”——詩(shī)歌翻譯過(guò)程中以獲取意美、音美、形美為主要目標(biāo)并以此最終達(dá)到傳神的境界，

4、“三美”的有機(jī)統(tǒng)一即是體現(xiàn)“神似”的關(guān)鍵。由此可見(jiàn)，詩(shī)歌翻譯中可譯或不可譯的因素并不是固定不變的，伴著時(shí)代的進(jìn)步，中英兩種語(yǔ)言文化交流的增多，我們需要欣賞外國(guó)優(yōu)秀的詩(shī)作，同時(shí)也需要把我國(guó)精美的漢詩(shī)譯成外文，讓全世界人民細(xì)細(xì)品味中國(guó)古文化的精華部分，盡可能地傳達(dá)原詩(shī)的“意美”、“音美”和“形美”，幫助異國(guó)讀者獲取和本國(guó)讀者一樣多的共鳴與享受。盡管存在語(yǔ)言和文化構(gòu)成上的差異，想要在翻譯過(guò)程中較為完美地取得“神似”仍然具有一些技巧，比如選詞方

5、法，修辭手法等等，都是不可忽視的必要因素。</p><p>　　故本文試圖圍繞“神似”在漢詩(shī)英譯過(guò)程中的定位、表現(xiàn)以及如何達(dá)到“神似”的主要技巧這三方面來(lái)探討這個(gè)翻譯界中的熱點(diǎn)話(huà)題，并期望更多的中外學(xué)者參與到漢詩(shī)英譯的探究中來(lái)，把中華兒女的寶貴財(cái)富、中華文明的驕傲代表在全世界范圍內(nèi)發(fā)揚(yáng)光大。</p><p>　?。ǘ﹪?guó)內(nèi)外研究現(xiàn)狀</p><p>　　現(xiàn)代許多學(xué)者

6、與翻譯家都在詩(shī)歌翻譯中關(guān)于“神似”提出了自己的觀點(diǎn)，主要有：</p><p>　　1．“形似”與“神似”的處理</p><p>　　汪榕培（1994）提到“傳神達(dá)意”是他一貫堅(jiān)持的譯詩(shī)原則，關(guān)于傳神，既要做到形似，又要神似。從實(shí)踐上來(lái)看，“神似”更為重要，也是就在精神實(shí)質(zhì)上對(duì)應(yīng)或相似，從而給人以生動(dòng)逼真的印象。郭建中（2000）表述了尤金·奈達(dá)關(guān)于在翻譯中意義對(duì)等與形式對(duì)等的看法

7、：意義是最重要的，形式其次。</p><p>　　2．追求“神似”的途徑和策略</p><p>　　劉重德（1994）認(rèn)為“忠實(shí)性乃是信達(dá)切三原則的概括，既要求譯者做到保全原文意義的信，又要求做到譯文通順易懂的達(dá)，更要力求與原作風(fēng)格的切合性。譯者應(yīng)遵循等效原則，做到對(duì)原詩(shī)意義忠實(shí)、功能對(duì)等，從譯詩(shī)實(shí)踐上確實(shí)不能苛求用詞完全對(duì)等。只要選詞靈活，傳神達(dá)意，亦可使譯文達(dá)到音美、形美、意美等境界，

8、從而實(shí)現(xiàn)譯作與原作的“神似”。</p><p>　　朱光潛（1997）指出“情趣恰隱寓于意象，可謂達(dá)到象征妙境?！薄熬扒槲呛希扳阋詡髑?。”對(duì)于漢詩(shī)的翻譯，尤以準(zhǔn)確捕捉文化意象和深度理解其內(nèi)涵為重。譯者在較為熟諳英語(yǔ)語(yǔ)言文化的基礎(chǔ)上，對(duì)其進(jìn)行較為合理的對(duì)等重構(gòu)，讓譯語(yǔ)讀者產(chǎn)生猶臨其境的感覺(jué)，從而使譯語(yǔ)讀者同源語(yǔ)讀者實(shí)現(xiàn)文化層面上的交流。</p><p><b>　?。ㄈ┌l(fā)展趨

9、勢(shì)</b></p><p>　　漢詩(shī)英譯中的“神似”研究是一個(gè)融文學(xué)于翻譯學(xué)其中的學(xué)術(shù)命題。譯詩(shī)時(shí)，譯者即充當(dāng)了溝通原詩(shī)作者與譯語(yǔ)讀者的紐帶或橋梁，發(fā)揮著對(duì)兩種語(yǔ)言文化信息匯總?cè)诤系奶幚碇袠小鬟f媒介的作用。我們應(yīng)牢記前人的理論總結(jié)，汲取精華，將其運(yùn)用于翻譯實(shí)踐；更要在實(shí)踐中不斷摸索、總結(jié)，在一些細(xì)枝末節(jié)的問(wèn)題上，找到恰當(dāng)可行的辦法，使譯詩(shī)等效于原詩(shī)在源語(yǔ)讀者中產(chǎn)生的效果。而今后的發(fā)展趨勢(shì)將進(jìn)一步明確

10、“神似”于漢詩(shī)英譯中的作用，以“神似”作為英譯過(guò)程中的終極目標(biāo)。只有使越來(lái)越多的漢詩(shī)英譯作品在深度的文化內(nèi)涵和精神境界上不遜色于原作，才能讓祖國(guó)璀璨的歷史文化在譯語(yǔ)國(guó)度大放異彩。</p><p>　　二、相關(guān)研究的最新成果及動(dòng)態(tài) </p><p>　　如今，隨著時(shí)代的進(jìn)步和異國(guó)文化的交流，文學(xué)作品的翻譯早已打破不可譯的禁錮，特別是詩(shī)歌，翻譯作品層出不窮，還有不少佳作為人津津樂(lè)道。同時(shí)，還有

11、許多來(lái)自國(guó)外的相關(guān)理論知識(shí)融匯于詩(shī)歌翻譯的領(lǐng)域中，例如西方哲學(xué)素來(lái)追求一分為二地看待問(wèn)題，即解析的二元論。若把它運(yùn)用于翻譯實(shí)踐也未嘗不可。進(jìn)行翻譯時(shí)，我們沒(méi)有必要必須做非此即彼的選擇，應(yīng)當(dāng)靈活變通，這也符合發(fā)展和變化的規(guī)律。翻譯時(shí)，遣詞造句十分重要，因?yàn)楸M管譯詩(shī)要從結(jié)構(gòu)、用韻、風(fēng)格甚至是文化意象等多方面進(jìn)行把握，歸根結(jié)底還是要通過(guò)仔細(xì)推敲而來(lái)的譯語(yǔ)詞匯來(lái)表現(xiàn)的。</p><p>　　若想要忠實(shí)等效地表述原作，還需

12、要悉心留意譯詩(shī)過(guò)程中的各個(gè)層面，力求忠實(shí)。譯好一首漢詩(shī)須從選材砌筑的基石開(kāi)始，要準(zhǔn)確到位地選擇語(yǔ)言材料；若要產(chǎn)生視聽(tīng)上的美感共鳴，必要傳神達(dá)意地斟酌用韻；欲求再現(xiàn)原作豐姿，則要恪守原詩(shī)風(fēng)格；更重要的是，要對(duì)等重構(gòu)文化意象，深入揣摩源語(yǔ)內(nèi)涵。</p><p>　　當(dāng)今詩(shī)歌翻譯的領(lǐng)域還有一大特點(diǎn)，那就是多樣性，不僅體現(xiàn)在譯文的表現(xiàn)形式上，更多的則是反映在對(duì)于原作的多重理解上。例如《錦瑟》是歷來(lái)被人稱(chēng)道的一部李商隱的佳

13、作，雖然字面意思易于理解，但是其詩(shī)歌固有的朦朧美讓人難以把握。其文字錦繡華麗，情意纏綿悱惻。對(duì)這首蘊(yùn)含深?yuàn)W的詩(shī)，各家都有不同的猜測(cè)。有人說(shuō)是看破名利，有人說(shuō)是追悼亡妻，還有人說(shuō)是抒發(fā)熱愛(ài)亡國(guó)之情懷。此詩(shī)為李商隱作品中最為不明顯的一首，短短八句，用典竟達(dá)四處之多。僅只五十六個(gè)字卻承載了深厚的感情和難于言表的釋然。</p><p>　　三、課題的研究?jī)?nèi)容及擬采取的研究方法、技術(shù)路線及研究難點(diǎn)，預(yù)期達(dá)到的目標(biāo)</

14、p><p><b>　?。ㄒ唬┭芯?jī)?nèi)容</b></p><p>　　本文主要探究漢詩(shī)英譯中的“神似”問(wèn)題，其研究基本內(nèi)容主要包括以下幾個(gè)方面：</p><p>　　1．“神似”在漢詩(shī)英譯中的定位</p><p>　　主要探討了近年來(lái)“形”與“神”在詩(shī)歌翻譯中的關(guān)系和處理觀點(diǎn)，進(jìn)而總結(jié)出注重“神似”的重要性。</p>

15、;<p>　　2．“神似”在漢詩(shī)英譯中的具體體現(xiàn)</p><p>　　主要以許淵沖先生的“三美論”為主導(dǎo)線，分別從“意境”、“聲音”和“形象”三方面著手，列舉各自的經(jīng)典代表詩(shī)作譯文來(lái)反映“神似”于具體詩(shī)歌中的主要表現(xiàn)形式。</p><p>　　3．達(dá)到“神似”的關(guān)鍵技巧和方法</p><p>　　主要探討了翻譯前和翻譯中譯者所需了解和注意的三個(gè)方面：在

16、翻譯前，掌握詩(shī)作的中心思想和主要基調(diào)是必須，在翻譯中，運(yùn)用一些手段和方法同樣不容小覷，如直（意）譯的選擇等。</p><p><b>　?。ǘ┭芯糠椒?lt;/b></p><p>　　1、分類(lèi)法：分類(lèi)討論不僅是數(shù)學(xué)思想，把不同的信息分類(lèi)，有便于研究工作的順利進(jìn)行。經(jīng)過(guò)分類(lèi)，“神似”的“三美”等體現(xiàn)方面可以清晰地突現(xiàn)出來(lái)，更具說(shuō)服力。</p><p&g

17、t;　　2、提取法：紛繁復(fù)雜的原始資料，不經(jīng)提取，不免令人眼花繚亂。因此，需要將所得資料進(jìn)行整理和篩選，只有經(jīng)過(guò)擇優(yōu)錄取，才可提取到真正有用的信息。 </p><p><b>　　（三）技術(shù)路線</b></p><p>　　首先通過(guò)所掌握的資料，解釋“神似”這一術(shù)語(yǔ)在漢詩(shī)英譯中的特殊地位，接著從三大主要方面——許淵沖的“三美論”來(lái)分別分析“神似”于翻譯中的體

18、現(xiàn)，然后還將探討取得“神似”的關(guān)鍵技巧，最后總結(jié)得出結(jié)論。 </p><p><b>　?。ㄋ模┭芯侩y點(diǎn)</b></p><p>　　中國(guó)古典詩(shī)歌廣博高深，語(yǔ)言準(zhǔn)確凝練，意向豐富，意境深廣。中國(guó)古詩(shī)語(yǔ)言經(jīng)過(guò)歷代文人墨客的推敲提煉，擁有著豐富多彩的詞藻，營(yíng)造了含蓄深廣的氛圍。這些看似簡(jiǎn)單易懂的方塊字，在詩(shī)人的筆中按照行云流水的體式格局勾勒出一幅含蓄雋永的畫(huà)面。這就是中國(guó)

19、古詩(shī)的特色，說(shuō)一是二，意在言外，給人以難以琢磨的美感，而英文則講究準(zhǔn)確科學(xué)。因此在詩(shī)歌的翻譯中，中國(guó)古詩(shī)的英譯十分困難，尤其是想要精確轉(zhuǎn)達(dá)出詩(shī)歌中的“神韻”。</p><p><b>　?。ㄎ澹╊A(yù)期目標(biāo)</b></p><p>　　由于不少人對(duì)于“神似”這一概念在漢詩(shī)英譯中定位和作用的不了解，對(duì)其缺少明確和系統(tǒng)的認(rèn)識(shí)，以致在譯詩(shī)過(guò)程中產(chǎn)生困惑或者翻譯結(jié)果并不理想，為此

20、，本文著重要解決的問(wèn)題就是梳理“神似”在翻譯實(shí)踐中的概念及運(yùn)作形式，通過(guò)列舉經(jīng)典漢詩(shī)的譯文來(lái)展現(xiàn)“神似”的具體表現(xiàn)方面，并試從取得“神似”的主要方法和技巧上來(lái)進(jìn)一步分析“神似”的實(shí)現(xiàn)性。</p><p>　　四、論文詳細(xì)工作進(jìn)度和安排</p><p>　　1. 2010年10月中旬----指導(dǎo)老師指導(dǎo)下，參考文獻(xiàn)，確定論文題目。 2．2010年11月-12月----充分合理安排

21、時(shí)間，查閱文獻(xiàn)，完成中文文獻(xiàn)綜述、開(kāi)題報(bào)告。 3． 2011年1月----開(kāi)始撰寫(xiě)初稿。 4.  20011年3月-4月——論文修改工作：與指導(dǎo)老師保持密切聯(lián)系，認(rèn)真對(duì)待論文修改工作，直到完成終稿。 5． 2011年5月中旬——提交論文終稿。</p><p><b>　　五、主要參考文獻(xiàn)</b></p><p>　　AS

22、Hornby. Oxford English Dictionary[M].London: Oxford University Press. 1997</p><p>　　Nida, Eugene A, Language, Culture and Translating, [M], Shanghai: Shanghai Foreign Language Education Press. 1993</p>

23、<p>　　毛華奮.漢語(yǔ)古詩(shī)英譯比讀與研究[M]，上海社會(huì)科學(xué)院出版社，2007</p><p>　　顧正陽(yáng).古詩(shī)詞曲英譯美學(xué)研究[M]，上海大學(xué)出版社，2006</p><p>　　許淵沖.唐宋詩(shī)一百五十首許淵沖[M]，北京大學(xué)出版社，1995，</p><p>　　任鶯.從“三美論”看古詩(shī)意境美的英譯[J],齊齊哈爾大學(xué)學(xué)報(bào)，2007，6:135~

24、137</p><p>　　許均.“形”與“神”辯[J],外國(guó)語(yǔ)，2003,2:57~66</p><p>　　王建平.漢詩(shī)英譯中的格式塔藝術(shù)空白處理[J]，外語(yǔ)學(xué)刊，2005，4:84~90</p><p>　　胡慧.漢詩(shī)英譯中的審美移情[J]，湘潭大學(xué)學(xué)報(bào)，2007,2:154~158</p><p>　　穆詩(shī)雄.淺談?dòng)⒆g中國(guó)古詩(shī)中的隱喻

25、[J]，外語(yǔ)與外語(yǔ)教學(xué)，2000,6:51~59</p><p>　　孫娜.目的論指導(dǎo)下古詩(shī)詞英譯中典故的處理[J]，今日南國(guó)，2010,1:89~92</p><p><b>　　畢業(yè)論文文獻(xiàn)綜述</b></p><p><b>　　英語(yǔ)</b></p><p>　　漢詩(shī)英譯中的“神似”</

26、p><p>　　前言部分（說(shuō)明寫(xiě)作的目的，介紹有關(guān)概念，扼要說(shuō)明有關(guān)主題爭(zhēng)論焦點(diǎn)）</p><p>　　中國(guó)漢詩(shī)的深邃精妙世界聞名，卻也給英譯工作帶來(lái)了不少困難之處。例如漢詩(shī)中會(huì)出現(xiàn)一些生僻的用詞，連本國(guó)的學(xué)者在理解上都有一定難度，更不必提把它轉(zhuǎn)為外語(yǔ)后仍能取得同樣效果的難度性了。</p><p>　　“神似”是指翻譯時(shí)注意譯詩(shī)在神韻和意蘊(yùn)方面保持和原作的高度相似，以重

27、現(xiàn)原詩(shī)的精髓為目標(biāo)的一個(gè)翻譯概念。它往往和“形似”一同提出，歷史上有關(guān)“形”與“神”關(guān)系的爭(zhēng)論一直存在，最早可追溯到1921年茅盾在《小說(shuō)月報(bào)》上發(fā)表的《新文學(xué)研究者的責(zé)任與努力》一文，其中提出：“文學(xué)作品最重要的藝術(shù)色就是該作品的神韻?！贝撕螅忻┒?、傅雷主張重神似不重形似，江楓主張形神兼?zhèn)?，而卞之琳則主張形似即神似等派別。奈達(dá)在與泰伯合著的《翻譯理論與實(shí)踐》一書(shū)中也說(shuō)：“詩(shī)的格律、詩(shī)的離合特征、有意采用的頭韻形式等，都是不可翻譯的語(yǔ)

28、言現(xiàn)象。在這一點(diǎn)上，不同語(yǔ)言之間就是沒(méi)有對(duì)應(yīng)關(guān)系的，因此我們只好犧牲形式以保存內(nèi)容。”</p><p>　　總結(jié)前輩們的閃光思想，現(xiàn)代詩(shī)歌翻譯中，較為推崇的說(shuō)法是：翻譯首先追求形神兼?zhèn)?，如若不能，則先神似而后形似。因此，漢詩(shī)英譯中的“神似”問(wèn)題，成為了翻譯過(guò)程中的重點(diǎn)問(wèn)題，當(dāng)然也是難點(diǎn)，既然”取得“神似”是譯者首要關(guān)注的，也是翻譯詩(shī)作的最終目的，故本文以漢詩(shī)英譯中的“神似”為中心，展開(kāi)探討了其在翻譯中的地位、體現(xiàn)

29、和獲取技巧。旨在研究“神似”于漢詩(shī)英譯中的重要性和功能性并望各界學(xué)者、譯者引以重視，將其作用發(fā)揮極致于我國(guó)詩(shī)歌的翻譯事業(yè)中。</p><p>　　二、主題部分（闡明有關(guān)主題的歷史背景、現(xiàn)狀和發(fā)展方向，以及對(duì)這些問(wèn)題的評(píng)述）</p><p>　　“形”與“神”的處理問(wèn)題在詩(shī)歌翻譯方面向來(lái)廣受文人學(xué)者所關(guān)注，顯然，它們是一對(duì)重點(diǎn)。法國(guó)翻譯理論家喬治·穆南在他1963年出版的《翻譯的理

30、論問(wèn)題》一書(shū)中說(shuō)道：“詩(shī)律是基于語(yǔ)言特征的基礎(chǔ)上形成的；不同的語(yǔ)言，其語(yǔ)言特征各不相同。因此，詩(shī)律是不可移植的。從這一觀點(diǎn)出發(fā)，他認(rèn)為，如果人們認(rèn)識(shí)到作品真正的內(nèi)容整體，認(rèn)識(shí)了這內(nèi)容與某種形式的真正關(guān)系，人們就可以運(yùn)用另一種語(yǔ)言形式，表達(dá)同樣的內(nèi)容，產(chǎn)生同樣的或盡可能近似的效果”。而就像郭著章先生所說(shuō)的那樣：“我在譯詩(shī)和評(píng)論詩(shī)歌英譯時(shí)所遵循的原則是：盡最大努力爭(zhēng)取英譯在意、形、音三方面都表現(xiàn)原詩(shī)之美，忠于原作，達(dá)到神似、形似乃至音似之要

31、求。所謂神似就是如實(shí)傳達(dá)原詩(shī)內(nèi)容和風(fēng)格信息以及神情韻味……若三似無(wú)法兼顧，則舍音似而保意似和形似；在意、形之似無(wú)法得兼的情況下，則舍形似而力保最重要的意似，決不做因韻害義等削足適履之類(lèi)的事情。”，故“神似”的重要性不言而喻。</p><p>　　對(duì)于“神似”的體現(xiàn)點(diǎn)和追求技巧，我國(guó)著名翻譯理論家劉重德（1994）認(rèn)為“忠實(shí)性乃是信達(dá)切三原則的概括，既要求譯者做到保全原文意義的信，又要求做到譯文通順易懂的達(dá)，更要力

32、求與原作風(fēng)格的切合性。譯者應(yīng)遵循等效原則，做到對(duì)原詩(shī)意義忠實(shí)、功能對(duì)等，從譯詩(shī)實(shí)踐上確實(shí)不能苛求用詞完全對(duì)等。只要選詞靈活，傳神達(dá)意，亦可使譯文達(dá)到音美、形美、意美等境界，從而實(shí)現(xiàn)譯作與原作的“神似”。許淵沖先生的“三美”說(shuō)應(yīng)該說(shuō)是借鑒于魯迅。他曾提到“魯迅在《漢文學(xué)史綱要》第一篇《自文學(xué)至文章》中說(shuō)過(guò)：漢語(yǔ)具有意美、音美、形美三大優(yōu)點(diǎn)?！庇谑撬殃P(guān)于漢語(yǔ)的這三美推及翻譯領(lǐng)域中。而從“三美”說(shuō)的翻譯原則來(lái)看，許淵沖還主張應(yīng)首先追求意美，

33、其次求音美，再求形美，并力求三者統(tǒng)一，即“best words in best order”。其實(shí)漢詩(shī)英譯的過(guò)程就是重現(xiàn)原詩(shī)“三美”的過(guò)程，當(dāng)然，不僅僅只有這三美，詩(shī)歌還具有動(dòng)靜美、流動(dòng)美、別趣美、空白美等等，正是這各種各樣的美才構(gòu)成了詩(shī)歌的獨(dú)特魅力和神韻。而在英譯過(guò)程中，我們特別需要注意的即是全面理解并掌握原詩(shī)中的美，這是取得“神似”的必經(jīng)之路。</p><p>　　隨著全球經(jīng)濟(jì)的一體化和全球文化交流的日益密切

34、，我們可以看出今后的漢詩(shī)英譯領(lǐng)域不僅僅是譯者一個(gè)人單槍匹馬的戰(zhàn)地，而是學(xué)者們之間的多重交流。</p><p>　　舉個(gè)例子：在漢語(yǔ)古詩(shī)翻譯中，龐德的《華夏集》在英美讀者中影響極大，盡管我們國(guó)內(nèi)不少評(píng)論家批評(píng)其譯文的不忠實(shí)。但其所謂的“不忠實(shí)”，除了因?yàn)樗欢疂h語(yǔ)這一原因外，更主要的原因是其所遵循的詩(shī)學(xué)原則。作為西方意象派詩(shī)歌的創(chuàng)始人和主要代表，龐德從中國(guó)古詩(shī)中所呈現(xiàn)的意象中找到了根據(jù)，獲得了鼓舞。值得一提的是，他

35、的翻譯之所以備受西方學(xué)者的推崇和英美讀者的贊賞，是因?yàn)樗忻鞔_的翻譯目的和讀者對(duì)象。其翻譯就是要推動(dòng)自己發(fā)起的意象派運(yùn)動(dòng)；其讀者對(duì)象非常明確，就是不懂漢語(yǔ)的英語(yǔ)讀者。因而他所采取的譯詩(shī)策略是“凝縮、簡(jiǎn)練、含蓄，突出意象美，抓住寫(xiě)詩(shī)時(shí)內(nèi)在沖動(dòng)的節(jié)奏感”。他在翻譯時(shí)不是推敲詞句，而是使自己的感情進(jìn)入原詩(shī)作者的角色，將原作中的思維方式和感情方式進(jìn)行濃縮提煉，再傳達(dá)到英語(yǔ)中去。</p><p>　　可見(jiàn)“神似”的重要性和

36、取得會(huì)并一直作為翻譯的重心，只是思維方式和角度可能更加多樣化，只要有利于詩(shī)學(xué)的傳播和交流，均可考慮采納。</p><p>　　三、總結(jié)部分（將全文主題進(jìn)行扼要總結(jié)，提出自己的見(jiàn)解并對(duì)進(jìn)一步的發(fā)展方向做出預(yù)測(cè)）</p><p>　　漢詩(shī)的翻譯不是那么容易，而對(duì)“神似”的把握更是要從多方面進(jìn)行縝密的考慮和思量。我們衡量漢詩(shī)英譯作品質(zhì)量的好壞，不是完全以詩(shī)體或散體，或押韻、不押韻等來(lái)簡(jiǎn)單地加以判

37、斷，而應(yīng)結(jié)合具體譯作是否掌握了原詩(shī)的神韻和精髓來(lái)看。本論文希望能給漢詩(shī)英譯中的“神似”研究提供一個(gè)綜述概括的整理，并且對(duì)加深了解詩(shī)歌翻譯中的美的具體表現(xiàn)和與之相關(guān)的一些掌握技巧具有一定的意義。而在漢詩(shī)英譯時(shí)熟悉中西不同的文化背景和個(gè)人的認(rèn)知鑒別能力也是非常重要的。</p><p>　　四、參考文獻(xiàn)（根據(jù)文中參閱和引用的先后次序按序編排）</p><p>　　AS Hornby. Oxfor

38、d English Dictionary[M].London: Oxford University Press. 1997</p><p>　　Nida, Eugene A, Language, Culture and Translating, [M], Shanghai: Shanghai Foreign Language Education Press. 1993</p><p>　　

39、毛華奮.漢語(yǔ)古詩(shī)英譯比讀與研究[M]，上海社會(huì)科學(xué)院出版社，2007</p><p>　　顧正陽(yáng).古詩(shī)詞曲英譯美學(xué)研究[M]，上海大學(xué)出版社，2006</p><p>　　許淵沖.唐宋詩(shī)一百五十首許淵沖[M]，北京大學(xué)出版社，1995，</p><p>　　任鶯.從“三美論”看古詩(shī)意境美的英譯[J],齊齊哈爾大學(xué)學(xué)報(bào)，2007，6:135~137</p>

40、<p>　　許均.“形”與“神”辯[J],外國(guó)語(yǔ)，2003,2:57~66</p><p>　　王建平.漢詩(shī)英譯中的格式塔藝術(shù)空白處理[J]，外語(yǔ)學(xué)刊，2005，4:84~90</p><p>　　胡慧.漢詩(shī)英譯中的審美移情[J]，湘潭大學(xué)學(xué)報(bào)，2007,2:154~158</p><p>　　穆詩(shī)雄.淺談?dòng)⒆g中國(guó)古詩(shī)中的隱喻[J]，外語(yǔ)與外語(yǔ)教學(xué)，2

41、000,6:51~59</p><p>　　孫娜.目的論指導(dǎo)下古詩(shī)詞英譯中典故的處理[J]，今日南國(guó)，2010,1:89~92</p><p><b>　?。?0_ _屆）</b></p><p><b>　　本科畢業(yè)設(shè)計(jì)</b></p><p><b>　　英語(yǔ)</b><

42、;/p><p>　　漢詩(shī)英譯中的“神似”</p><p>　　The Spiritual Resemblance in the Translation of Chinese Classical Poetry</p><p><b>　　內(nèi)容摘要</b></p><p>　　漢詩(shī)的博大精深往往使得英譯工作變得越加困難，經(jīng)過(guò)歷代

43、文人學(xué)者的努力，詩(shī)歌的可譯性已經(jīng)不再是個(gè)問(wèn)題，而且翻譯中注重“神似”問(wèn)題更是重中之重?！吧袼啤笔侵阜g時(shí)注意譯詩(shī)在神韻和意蘊(yùn)方面保持和原作的高度相似，以重現(xiàn)原詩(shī)的精髓為目標(biāo)的一個(gè)翻譯概念。本論文分別從“神似”在漢詩(shī)英譯過(guò)程中的地位、體現(xiàn)、與取得技巧這三方面來(lái)具體論述這一議題，首先，漢詩(shī)英譯中的“神似”處理必須引以重視，因?yàn)樯耥嵤窃?shī)歌的實(shí)質(zhì)存在。其次以“神似”的具體體現(xiàn)為重點(diǎn)，展現(xiàn)了其在翻譯中的運(yùn)作，即，漢詩(shī)中的神韻主要體現(xiàn)于詩(shī)中的美，以

44、許淵沖的“三美論”為主導(dǎo)線的一系列美的分析是我們?yōu)槿〉蒙袼贫仨氉龊玫墓φn。最后，掌握一些取得“神似”的關(guān)鍵技巧也對(duì)漢詩(shī)的翻譯起著不可忽視的作用。</p><p>　　關(guān)鍵詞：漢詩(shī)；英譯；神似；“三美”</p><p><b>　　Abstract</b></p><p>　　The profundity of Chinese classica

45、l poetry makes it more difficult to do the translation work and through the hard efforts from scholars and translators of all generations, the translatability of the poetry is no longer a problem. Moreover, emphasizing o

46、n the spiritual resemblance during translation is a top priority. The spiritual resemblance refers to the high similarity that shall be achieved in translation with the original poem in the aspects of spiritual charm and

47、 implication and for the p</p><p>　　Key words: Chinese classical poetry; English translation; the spiritual resemblance; “three beauties”</p><p><b>　　Contents</b></p><p>

48、;　　AbstractⅡ</p><p>　　1 Introduction1</p><p>　　2 The Spiritual Resemblance in the Translation of Chinese Classical Poetry2</p><p>　　2.1The Methods of Dealing with the Spirit and

49、 the Form2</p><p>　　2.2The Necessity of Emphasizing the Spiritual Resemblance3</p><p>　　3 Specific Embodiments of the Spiritual Resemblance3</p><p>　　3.1 Three Classical Embodi

50、ments---- the “Three Beauties”4</p><p>　　3.1.1 Reconstruction of the Conception4</p><p>　　3.1.2 Recapture of the Sound6</p><p>　　3.1.3 Remodeling of the Image9</p><

51、;p>　　3.2 Other Conventional Embodiments11</p><p>　　4 Critical Skills for the Achievement of the Spiritual Resemblance12</p><p>　　4.1Understanding of the Central Idea12</p><p&g

52、t;　　4.2Mastery of the Fundamental Tone13</p><p>　　4.3Utilization of the Expressional Techniques14</p><p>　　5 Conclusion16</p><p>　　Bibliography17</p><p>　　Acknowl

53、edgements18</p><p>　　Introduction</p><p>　　Chinese classical poems are true rarities in the eyes of the world, with the high development of the society and economy, especially the fast speed of

54、 the globalization process, the translation of the poems has received much attention from scholars in all fields. Meanwhile, the profundity of Chinese classical poetry always makes it more difficult for us to do the tran

55、slation work. Many people believe it is difficult for the translators to reproduce the thoughts and feelings of the original work </p><p>　　However, the advancement of society has improved the communication

56、between Chinese and English languages. We demand their prominent poems and also like to provide them our essential part of the traditional culture. Therefore, the aim of translation is to convey the beauty of conception,

57、 beauty of sound and beauty of image in a maximum extent, helping English readers acquire the same resonance and enjoyment as us Chinese readers. </p><p>　　During the process of translation, the problem of h

58、ow to deal with the “form” and “spirit” has been one of the topics that universally disputed in the translation field. Although, basically they depend on each other for existence, what is widely accepted is we should end

59、eavor to represent the beauty of the original poem in the two aspects of “form” and “spirit” and be faithful to the original poem, meeting the requirements of the spiritual resemblance and formal resemblance. If the two

60、resemblan</p><p>　　The concept of the spiritual resemblance was firstly brought up by Mr. Fu Lei, a famous translator in China. And Zhu Shenghao had also the opinion of “keeping the spirit of the original po

61、em”. Afterwards, Xu Yuanchong put forward the theory of “three beauties”---- the translation of a poem must be based on the purpose of achieving the beauty of conception, sound and image in order to reach the “spiritual

62、resemblance” as an ultimate goal, in another word, the unity of three beauties is very criti</p><p>　　Therefore, in this paper the spiritual resemblance is going to be probed in three aspects as its status,

63、embodiments and critical skills of reaching it. And more expectations are attached to the future reach of the Chinese classical poetry translation by scholars and translators from both native land and foreign countries i

64、n order to spread the great treasures---- the representative of the Chinese civilization all over the world.</p><p>　　2. The Spiritual Resemblance in the Translation of Chinese Classical Poetry</p>&l

65、t;p>　　2.1 The Methods of Dealing with the Spirit and the Form</p><p>　　“The definition of the spiritual resemblance is the faithful expression of the content, style and particular charm of the original wo

66、rk, according to Guo Zhuzhang” (Mao Huafen, 2007:52). Meanwhile, the spiritual resemblance pays more attention on the identity of the usage on words, structures of sentences, techniques of expression and so on.

67、 </p><p>　　“The discussion about how to deal with the spirit and the form is quite furious for a long time amongst translation circles, especially in the translation of a Chinese classical poem. There ha

68、ve been a group of scholars with the opinion of putting the spiritual resemblance in the first place such as Mao Dun, Fu Lei, Xu Yuanchong”(Xu Jun, 2003:60). While on the other hand, translators like Jiang Feng, Bian Zhi

69、lin give the priority to the formal resemblance or they are convinced that both form and</p><p>　　There is no doubt that spiritual resemblance and formal resemblance can reach to a perfect combination, but i

70、n most cases, it is really hard for the translators to achieve both of them. In this paper, the idea that we should emphasize firstly the spiritual resemblance is preferred when a poem being translated since Chinese lang

71、uage attaches great importance to the spiritual integration.</p><p>　　2.2 The Necessity of Emphasizing the Spiritual Resemblance</p><p>　　The process of translation is a kind of re-creation in a

72、ppreciating of the beauty from the translator. The key to that kind of re-creation is to grasp the main ideas hidden in the original works, based on which the original forms must be abandoned. Instead, specific words, se

73、ntences and structures should be picked out to represent the originals. Therefore, a good translation is on the basis of an accomplishment of the spiritual resemblance, with which can those gorgeous forms take effect. Sp

74、irit</p><p>　　When we deal with a Chinese classical poem, emphasizing the spiritual resemblance is more important because Chinese language is full of complexity that without understanding of the deep thought

75、s and emotions can we hardly express the characters and charm of the original poem. For instance, an image is often used in a Chinese classical poem like “落日”(sunset), standing for the emotion of being reluctant to part.

76、 In addition, the remarkable features of Chinese classical poetry are implicit, reserve</p><p>　　Specific Embodiments of the Spiritual Resemblance</p><p>　　“Beauty is the characteristics and ess

77、ence of the art, as well as of the literature, even more of the poetry. Although there are three functions of the poetry---- recognition, education and aesthetic, the most important function is the aesthetic one. Without

78、 it, readers may bring sense of disgusted and tiresome when they are faced alone with dull functions of recognition and education and which can not be realized as the result”(Gu Zhengyang, 2006:2).</p><p>　　

79、The translation of a poem should take the achievement of beauty as the initial aim of reaching spiritual resemblance. In another word, all kinds of beauties in the translations are academically the specific embodiments o

80、f spiritual resemblance.</p><p>　　3.1 Three Classical Embodiments---- the “Three Beauties”</p><p>　　It is inadvisable to evaluate a translation broadly without a widely-acceptable standard. The

81、theory of “three beauties” was brought up by Xu Yuanchong, which has received great attentions amongst translation circles.</p><p>　　It is introduced by Xu Yuanchong that the translation of a poem should con

82、vey as much as possible the beauty of conception, beauty of sound and beauty of image. However, it is not a parallel relation among them: the beauty of conception is the most essential of the three, then comes the beauty

83、 of sound and at last the beauty of image. If the “three beauties” can not be achieved at the same time, the formal resemblance can be given up as well as the sounds’ but by no means should the beauty of co</p>&l

84、t;p>　　3.1.1 Reconstruction of the Conception</p><p>　　“Conception in Chinese classical poetry refers to a kind of artistic state formed by the integration of the thoughts and feelings with the pictures an

85、d scenes possessed and depicted respectively by the poets”(Gu Zhengyang, 2006:18). The beauty of conception lies in the possibility of constructing a dynamic, charming and profound composition by using the simplest form

86、and the most refined words. Readers may capture strong imagery from the conception in which merges paintings with poems. </p><p>　　In a word, conception is an integration of aesthetic objects and thoughts as

87、 well as an integration of specific boundary and deep emotion, which has a close link with the reflection on life. For the purpose of grasping the beauty of conception, we should represent a realm of the invisible with c

88、oncrete words and sentences. Translators may reproduce the beauty by creating the effect of retention within the limited words, in this way can readers have a chance to bring their own imagination into fu</p><

89、p>　　It is an important standard for us to make a judgment on the quality of a poem. During the translation of literature, it is the translators’ obligations to pursue the conception at the very beginning and their aim

90、s to create one as equivalent as the original’s. </p><p>　　“Generally conception can be divided into the first quadrant of conception (external conception) and the second quadrant of conception (internal con

91、ception). A poem of the second quadrant of conception always possesses both dual conceptions and meanings, which are revealed by external conception. In order to achieve that, one must go through a winding path to a secl

92、uded spot---- acquiring the symbolic meaning through the surface in disguise”(Gu Zhengyang, 2006:4). Take a famous English version o</p><p>　　Why should the zither sad have fifty strings?</p><p>

93、;　　Each string, each strain evoke but vanished springs;</p><p>　　Dim morning dream to be a butterfly;</p><p>　　Amorous heart poured out in cuckoo’s cry.</p><p>　　In moonlit pearls s

94、ee tears in mermaid’s eye;</p><p>　　From sunburnt jade in Blue Field let smoke rise!</p><p>　　Such feeling cannot be recalled again;</p><p>　　It seemed long lost e’en when it was fe

95、lt then.</p><p>　　(Tr, by Xu Yuanchong)</p><p>　　The poem is a picture of life, which composed by four allusions----- Zhuangzi once dreamt that he became a butterfly but was still himself when h

96、e woke up with no idea where did the butterfly went; the king of Shu State, Du Yu died after the destruction of his country and his soul turned into a cuckoo which wept sadly in late spring; in the sea there was a mermai

97、d crying in the bright moon whose tears shaped into pearls; Blue Field featured the jades and in warm sunny days raised smoke which can</p><p>　　It tells a recollection of separation between life and death j

98、ust like a dream from different aspects. The picture full of symbolic significance is blended with sentiment of lost ages, grief of tortuous love and sorrow of shattered dreams, implying howling and profound hatred with

99、wispy beauty of dimness.</p><p>　　It is a typical work of Chinese classical poetry because of its obscurity, which lies in the essence of a classic. Although it is hard even for us Chinese readers to compreh

100、end it thoroughly, as long as we make an intensive study we can accomplish a nice translation just like this one from Mr. Xu. </p><p>　　The tone of whole poem is about “sadness”. So “sad” was used at the fir

101、st place to convey the intension explicitly. Then a rhetorical question in the translation embodies exactly the ignorance of passing years and usage of “string” and “strain” at the second line achieves both the beauty of

102、 sound and image, providing a memory of the past happiness. “Vanished springs” extends the vibration of “youth is short” which suits perfectly for the value-orientation of localization and at the same time rhy</p>

103、<p>　　It is deserved to be mentioned that there is a fairy tale about mermaid in western countries which is quite similar to “鮫人” in Chinese figures---- they are female mermaids with human heads and fishtails. Ther

104、efore, it is advisable to make the conversion of legends in translation in order to provide a familiar context for readers to acquire the real meaning of the poem and get into the second quadrant of conception from the f