-.z中國古典詩歌論文：主述位理論觀照下的中國古典詩歌英譯【中文摘要】詩歌是一種特殊的文學(xué)樣式,言簡(jiǎn)意賅、含義雋永。中國古典詩歌與英語詩歌受語言文化等諸多因素的影響,迥然相異。翻譯難,翻譯詩歌更難。國內(nèi)外學(xué)者在中國古典詩歌的英譯中已付出巨大的努力,取得了較為豐碩的成果。但傳統(tǒng)的翻譯研究是從哲理和文藝的角度出發(fā),討論重點(diǎn)是筆調(diào)、風(fēng)格、韻味、精神等譯文與原文中的藝術(shù)要素。后來,隨著語言學(xué)派的興起,語言學(xué)的成果被運(yùn)用到翻譯研究中去,從語義、句法、語用等方面分析和討論翻譯中的等值和轉(zhuǎn)換單位等問題,力求做到客觀、準(zhǔn)確、系統(tǒng)、科學(xué)。與傳統(tǒng)的翻譯研究不同,本文旨在將主述位理論運(yùn)用于中國古典詩歌翻譯研究,探討詩歌小句與篇章的銜接關(guān)系,解讀詩歌信息構(gòu)造模式及翻譯轉(zhuǎn)換規(guī)律。翻譯是在語篇而非字、詞、句的層面上實(shí)現(xiàn)的。翻譯的最終是實(shí)現(xiàn)語篇層次的相對(duì)對(duì)等。貝克認(rèn)為語篇層次的翻譯對(duì)等主要是通過銜接和信息組織(尤其是主述位構(gòu)造)來實(shí)現(xiàn)的。而主位模式作為一種信息構(gòu)造,是作者交際意圖的外觀,因而理應(yīng)成為構(gòu)建譯文時(shí)不可或缺的重要參照。這就意味著譯者在譯文中需要重建源文的信息組織構(gòu)造,以便順應(yīng)譯語規(guī)*,構(gòu)建出銜接得當(dāng),語意連貫的譯文,使得譯文承受者的反響與原文承受者的反響根本一樣,實(shí)現(xiàn)翻譯對(duì)等。本文首先指出此項(xiàng)研究的研究、研究意義和研究方法。接著,對(duì)中國古典詩歌翻譯的中外研究現(xiàn)狀及主述位理論在翻譯中的研究現(xiàn)狀進(jìn)展綜述,指出此研究領(lǐng)域的缺乏。在介紹了本項(xiàng)研究的理論框架之后,作者對(duì)中國古典詩歌及英詩的主、述位及主位推進(jìn)模式的特點(diǎn)進(jìn)展了分析比較,說明兩者在語言構(gòu)造上的差異,為中國古典詩詞的英譯找到翻譯的標(biāo)準(zhǔn)和依據(jù)。然后,作者對(duì)幾首典型中國古典詩歌的英譯版本分別從小句和語篇的層次,探討中國古典詩歌英譯的方法及策略。作者認(rèn)為,主述位理論是可以運(yùn)用于中國古典詩歌翻譯的。詩歌中的主位構(gòu)造及其推進(jìn)模式受到各自語言的影響,表達(dá)出了各自不同的特點(diǎn)。在中國古典詩歌英譯時(shí),為了使目標(biāo)語讀者獲得與源語讀者同樣的效果,應(yīng)該遵循英詩在主位構(gòu)造及其推進(jìn)模式的特點(diǎn)。研究發(fā)現(xiàn)：首先,在主位選擇上,原詩中的一些省略主位要得以補(bǔ)充；標(biāo)記主位盡可能得以保存,一些情況下,雖然原詩中沒有使用標(biāo)記主位,譯文為了再現(xiàn)詩歌格律和聲韻要使用標(biāo)記主位；復(fù)項(xiàng)主位頻繁在英譯文中使用,為了實(shí)現(xiàn)連貫,方便目標(biāo)語讀者。其次,在主位推進(jìn)模式選擇上,在不影響原詩意思及詩人情感傳達(dá)的情況下,盡可能保存原詩的主位推進(jìn)模式；但當(dāng)譯文采用原詩同樣的主位推進(jìn)模式會(huì)產(chǎn)生不一樣的表達(dá)效果時(shí),譯文可以重新構(gòu)建新的主位推進(jìn)模式?？傊?中國古典詩歌的英譯只有順應(yīng)英語詩歌的主位構(gòu)造及主位推進(jìn)模式,才能構(gòu)建出銜接得當(dāng),語意連貫的譯文,再現(xiàn)原詩所產(chǎn)生的交際效果?！居⑽恼縋oetryisaspecialkindofliterarystyle,concisebutmeaningful.ClassicalChinesepoetryvariesalotfromEnglishpoetryowingtomanyfactorslikelanguage,cultureandsoon.Translationisdifficult,andpoetrytranslationisevenmoredifficult.DomesticandforeignscholarshavedoneagreatdealofeffortsintheEnglishtranslationofclassicalChinesepoetry,andhaveachievedalot.Buttraditionaltranslationstudiesarealwaysfromthepointofviewofphilosophyandculture,withthefocusonsuchelementsofartastone,style,flavor,spirit.Later,withthedevelopmentoflinguistics,theresultsoflinguisticsareappliedtothestudyoftranslation.Suchissuesastranslationequivalenceandtranslationunitbegintobediscussedandanalyzedfromtheperspectivesofsemantics,synta*,andpragmaticsandsoon,strivingtobeobjective,accurate,systematicandscientific.Differentfromthetraditionaltranslationstudies,thispaperseekstoapplyTheme-RhemetheorytothetranslationstudyonclassicalChinesepoetry,approachesthechoherenceofpoemsatthelevelsofclauseandte*t,andtriestointerprettheinformationstructuremodelsofpoemsandrulesoftheirtranslation.Translationisrealizedatte*tlevelinsteadofatword,phraseorsentencelevel.Theultimategoaloftranslationistoachievearelativeequalatte*tlevel.Bakerholdsthatequivalenttranslationatte*tlevelisrealizedbymeansofcohesionandinformationorganization(especiallythematicstructure).Thematicpattern,asakindofinformationstructure,istherepresentationofmunicators’intent,whichshouldbeanindispensablereferenceintargette*ts’construction.Sotranslatorsneedtorebuildtheinformationstructureofsourcete*ts,forthepurposeofconformingtothespecificationsoftargetlanguageandconstructingcohesiveandcoherenttargette*ts.Thus,targetreaderswillhavethesameresponseasreadersofthesourcete*t.Thispaperfirstlyintroducesthesignificanceofthestudy,themethodologyadopted.Ne*titreviewsthestudiesonclassicalChinesepoetrytranslationandapplicationofTheme-Rhemetheoryintranslationbothathomeandabroad,furtherpointingoutgapsinthefield.Afterpresentingthetheoreticalframeworkforthisstudy,thepaperconductsacontrastivestudyofthematicstructureandthematicprogressionbetweenEnglishandclassicalChinesepoems,aimingtoshowthedifferencesintheirlanguagestructures,andfindoutthecriterionandbasisforEnglishtranslationofclassicalChinesepoetry.ThenEnglishversionsofsometypicalclassicalChinesepoemsareanalyzedatlevelsofclauseandte*t,e*ploringtheapproachesandstrategiestoEnglishtranslationofclassicalChinesepoetry.Intheauthor’sopinion,Theme-RhemetheorycanbeappliedtoEnglishtranslationofclassicalChinesepoetry.Influencedbytheirownlanguage,EnglishpoemsandclassicalChinesepoemsreflectdifferentcharacteristicsinthematicstructureandthematicprogression.InEnglishtranslationofclassicalChinesepoetry,thecharacteristicsofthematicstructureandthematicprogressionofEnglishpoemsshouldbeabidedbysoastocreatetheequaleffectontargetreadersasthatontheoriginalones.Whatthestudyunveilsisasfollows:Firstofall,concerningthechoiceoftheme,theellipticalthemesinsourcepoemsaretobeplemented;Markedthemesaretobepreservedifpossible,butundersomecircumstances,althoughmarkedthemesaren’tusedinsourcepoems,theyareadoptedinthetargetonesinthepursuitofrhyme;multiplethemesarefrequentlyutilizedinEnglishversionstoachievecoherencefortragetreaders’sake.Then,asregardsthematicprogressionpatterns,theoriginalonesaretobekepttothegreatestpossibleonthebasisofnotharmingthemeaningofsourcepoemsandthedeliveryofpoets’emotion;butifthesamethematicprogressionpatternsemployedintargetpoemsbringsaboutadifferenteffect,someadjustmentsaretobemadetoreconstructthethematicprogressionpatternsofthetargette*ts.Inaword,inEnglishtranslationofclassicalChinesepoetry,onlywhenplyingwiththespecificationsofthematicstructureandthematicprogressionofEnglishpoetrycanaproperlycohesiveandsemanticallycoherenttargette*tbeconstructed,andthesamemunicativeeffectcanbereproduced.【關(guān)鍵詞】中國古典詩歌翻譯對(duì)等語篇主述位理論主位主位推進(jìn)【英文關(guān)鍵詞】classicalChinesepoetryequivalenttranslationte*tTheme-Rhemetheorythemethematicprogression【目錄】主述位理論觀照下的中國古典詩歌英譯

Acknowledgements

4-5

Abstract

5-6

摘要

7-9

Contents

9-11

ListofFiguresandTables

11-12

ChapterOneIntroduction

12-17

1.1BackgroundoftheStudy

12-14

1.2SignificanceoftheStudy

14-15

1.3MethodologyoftheStudy

15

1.4OrganizationoftheThesis

15-17

ChapterTwoLiteratureReview

17-25

2.1ASurveyoftheStudyonClassicalChinesePoetryTranslation

17-22

2.1.1TheDevelopmentoftheTranslationofClassicalChinesePoetryinChina

17-20

2.1.2TheDevelopmentoftheTranslationofClassicalChinesePoetryAbroad

20-22

2.2ASurveyofApplicationofTheme-RhemeTheoryinTranslationStudies

22-25

2.2.1RelevantStudiesAbroad

22-23

2.2.2RelevantStudiesatHome

23-25

ChapterThreeTheoreticalFramework

25-39

3.1Te*t

25-26

3.2Theme

26-33

3.2.1TheNotionofTheme

26-27

3.2.2TheClassificationofTheme

27-33

3.3ThematicProgression

33-36

3.4TranslationEquivalence

36-39

ChapterFourAContrastiveStudyofThematicStructureandThematicProgressioninEnglishandClassicalChinesePoems

39-54

4.