摘要
随着模糊美学的发展,模糊概念引入了美学领域,模糊美成为模糊美学研究的主要对象。不确定性是模糊美的主要特点。中国古典诗歌讲求“意境”、“情景交融”,体现了丰富的模糊美特性。英语诗歌虽然具有较严格的语法规范和严谨的逻辑关系,仍然把对模糊美的追求作为最高境界,这使得英汉诗歌翻译成为可能。不过由于不同层次的语言规则和文化背景,英汉诗歌中的模糊美再现具有相当难度。通过对比李白所作的《长干行》的三首译文,阐述了汉诗英译中模糊美再现的重要性,并探讨了再现模糊美的一些技巧。
With the development of Vague Aesthetics, the concept of vague beauty is adopted arid becomes the main object of Vague Aesthetics research with uncertainty as its main character. Chinese classical poetry lays stress on artistic conception and 'feeling and setting happily blended', embodies the abundant feature of vague beauty. English Poetry, though with strict grammar and precise logic, still take the vague beauty as its climax. And this makes the mutual translation of English poetry and Chinese poetry, however, due to different language rules and cultural background at different levels, it is considerably difficult to reappear the vague beauty in English and Chinese poetry. By comparing the three translation versions of Li Bai's Chang Gan Xing, I expounded the importance of the reappearance of vague beauty in the English translation of Chinese poetry and explored some skills of vague beauty reappearance.
出处
《重庆邮电学院学报（社会科学版）》
2003年第4期73-76,共4页
Journal of Chongqing University of Posts and Telecommunications
