摘要
王东风教授提出采用“以逗代步”和“以平仄代抑扬”的方法翻译英诗抑扬格格律诗,以取代“以顿代步”,从而实现节奏和声律的等效。其译观不乏创新性及合理性,但是:1)“以顿代步”可以再现原诗节奏感;2)汉语声调的变化并非仅以平仄为基础。本研究以关联理论为指导,通过探讨节奏等效和汉语声调的本质回应上述二观,然后阐明汉语语法及平仄系统的嬗变,从而明确目标语为汉语的读者其认知语境的变化。最后通过比勘几个译法,重审“以顿代步”的合理性及其改进空间。
Professor Wang Dongfeng forwards“dou for foot”and“ping-ze or flat-sharp for iamb”as new methods of translating metrical English poetry(mainly iambic verse),to replace“dun for foot”,for a prosodic equivalence(in rhythm).Reasonably innovative as it seems,this paper holds 1)that“dun for foot”can reproduce the original rhythm;2)that the changes of Chinese tones rest not merely on ping-ze.In light of Relevance Theory,we illuminate the essence of equivalence in rhythm and the essence of Chinese tones to respond to these two points,followed by study of evolution of Chinese grammar and the Chinese ping-ze system to discover how the cognitive context alters with the target-language(Chinese)readers.Finally we compare various versions and discover the rationality of“dun for foot”(revisited)for improvement.
基金
国家社科项目“新时代国家治理‘中国方案’的话语建构与对外传播模式研究”(21BYY091)的中期成果。
关键词
格律诗
王东风
以顿代步
以逗代步
以平仄代抑扬
Metrical Poetry
Wang Dongfeng
Dun for Foot
Dou for Foot
Ping-ze or Flat-sharp for Iamb
