摘要
唐诗的内容丰富多彩,形式推陈出新,风格多元多样。唐诗外译最直接地扩大了唐诗的受众群体,将我国优秀灿烂的传统历史文化传播到世界的其他地区,使其他国家的读者也能得到这种独特的美感享受。唐诗中有许多典型的意象,这些意象所带来的美感在外译的过程中如何传达?本文以学者姚斯(H. Jauss)和伊塞尔(W. Iser)提出的接受美学理论视角下,以许渊冲《唐诗三百首》译本中的经典译篇《登鹳雀楼》和《山居秋暝》为例,分析许渊冲唐诗译本中意象的翻译,以揭示接受美学理论在翻译过程中起到的独特作用。
Tang poetry is rich in content, innovative in form and diverse in style. The translation of Tang poetry has most directly expanded the audience of Tang poetry, and spread China’s excellent and splendid traditional history and culture to other parts of the world, so that readers in other countries can also enjoy this unique aesthetic feeling. There are many typical images in Tang poetry. How can the aesthetic feeling brought by these images be conveyed in the process of translation? Under the perspective of the reception aesthetics theory proposed by scholars H. Jauss and W. Iser, this paper takes Xu Yuanchong’s classic translations of Climbing the Stork Tower and Autumn Twilight in the translation of Three Hundred Tang Poems as examples to analyze the translation of images in Xu Yuanchong’s Tang poetry translation, so as to reveal the unique role of the reception aesthetics theory in the translation process.
出处
《现代语言学》
2024年第4期406-410,共5页
Modern Linguistics
