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唐诗英译翻译批评现状研究

论文作者:www.51lunwen.org论文属性:硕士毕业论文 thesis登出时间:2012-10-29编辑:hynh1021点击率:4313

论文字数:23400论文编号:org201210282003401634语种:英语 English地区:中国价格:$ 66

关键词:Tang poetry translationtranslation criticismcurrent state

摘要:With the ever-increasing Tang poetry translation, translation criticism about it atall levels is springing up. This thesis discusses systematically the current state ofTang Poetry translation criticism

Chapter One Tang Poetry Translation

 

Tang poetry is so characteristic that it has been the beloved of translators athome and abroad. As a result, different translations have been mushrooming. Thoughseemingly unsystematic, these translations can be roughly divided into severalgroups, sharing some similarities while differences do exist. Reasons lying beneathsuch a phenomenon will be further discussed in this Chapter.

 

1.1 A Brief Introduction to Tang Poetry
China boasts an extensive and profound history of the development of poetrywith Tang poetry at its peak. As a gem in the Chinese Literature, Tang poetry hasalways been a source of pride for Chinese people for its perfect combination ofmeaning, sound and form (Xu Yuanchong, 2003: 308).Be they of pre-Tang style or modern style, regulated verse (lü shi) or unevenverse (jue ju), Tang poems are all beautifully knitted and absolutely in order. Thewide employment of rhetorical devices such as antithesis makes quite a contribution:each line enjoys a certain fixed number of characters, with the part of speech of thecorresponding part between lines in agreement. More often than not, each poem has alimited number of characters with a minimum of twenty.Tang Poetry is pleasant to the ear. Almost all of the Tang poems are rhythmical,rhymed and chantable with a strict rule of the level (ping) and oblique (ze) tones.Only on rare occasions may any deviation from the rule be tolerated. The result isthat Tang poems are pleasant to read and recite. That to a certain degree accounts forwhy those poems have managed to survive the passage of time and are still alive onthe tongue of people many years down from the Tang Dynasty.However, beauty in form and sound alone can by no means qualify a “gem”.The essential thing is “beauty in meaning” for the simple reason that it is formand sound that define poetry but it is meaning that defines a particular poem. Theprescribed rules of the form of Tang poetry make brevity its destiny. Still, brevitymeans richness. The signified of poetry language always weighs far more than thesignifier. What is unsaid is always more intriguing than what is said. It is rich inmeaning. William Wordsworth said that poetry is “the spontaneous overflow ofpowerful feelings from emotions recollected in tranquility (Wordsworth, 2008:151).”Similarly, Chinese poetry tries to communicate a significant experience shared bymany, allowing readers to become part of that experience. The highest form of poetryhas been put forward by Yan Yu, a distinguished Chinese scholar, “…the words arefinite while the meaning is infinit.” (言有尽而意无穷) (Pi Chaogang, 1986: 87)Tang poetry as a whole embodies that merit and more.Coleridge once said, “Poetry is the best words in the best order (Xu Yuanchong,2007: 7)”. As for the author, she believes that Tang poems are beautiful dancesperformed by brilliant poets in shackles. Therefore, in deciphering, or rather, intranslating, it is the translators’ duty to transfer all the beauty within a poem to thetarget text (TT) readers; While critiquing the versions, the critics are supposed to takeall the combined beauty into consideration. To give priority to the space of the thesis,the author only chooses one of the Tang poems, Jing Ye Si, for case study.All the above-mentioned is a preparation for the discussion of Tang poetrytranslation and its translation criticism.

 

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