摘要
连歌作为日本和歌的独特形式,被称为"最具日本特色的文艺形式",但自1980年代国内掀起以俳句为主的日本和歌汉译问题热议,至今却无人研究连歌汉译问题。本文以连歌的五种分类和起源为切入点,以有心连歌和无心连歌的歌心要求、作歌规则及特有修辞手法为主线,在具体分析了有心幽玄体长连歌《水无濑三吟百韵》及荒木田守武和饭尾宗祗二人唱和的无心俳谐体短连歌的汉译案例之后,在日本著名连歌歌论和原作者作歌主张及纽马克关联翻译法的理论基础上,提出了有关连歌汉译的形式、风格和语言修辞问题方面的看法。
Renga, as a specific form of Japanese waka, has been called ＂the most characteristic Japanese literary art form.＂ Following the controversy in 1980 s China over the quality of Japanese waka translations, mainly haiku, studies of renga translation were relatively hard to find, until quite recently. This paper begins by presenting five kinds of classification and the origin of renga. Renga theory is then applied to a concrete analysis of Chinese translation cases containing ＂ushin（with heart）＂ and ＂mushin（without heart）,＂ from renga to yūgen styles, using the Minase Sangin Hyakuin, and renga to Haikai styles, as created by Arakida Moritake and Lii Sougi. After considering the original author＇s intention, as well as the intentions of advocates, and Newmark＇s correlative approach to translation theory, the paper puts forward the view of form, style and language rhetoric for renga translation.
作者
徐凤
Xu Feng(Qufu Normal Universit)
出处
《日语学习与研究》
2016年第5期112-123,共12页
Journal of Japanese Language Study and Research
关键词
连歌汉译
有心
无心
形式
风格
语言修辞
renga translation
ushin（with heart）
mushin（without heart）
form
style
language rhetoric
