英语毕业论文
Beauty in sound, form and n in Poetry Translation列子说符
—— Translation of Classical Chine Poetry From Chine to English
中国古典诗歌英译的音美、形美和意美
Acknowledgements
I would like to express my gratitude to all tho who helped me during the writhing of this disrtation. A special acknowledgement should be shown to Mr. Zhang, my supervisor, who benefited me a lot, not only in lecting the subject but also in the writing process such as in the essay conception and essay structure. Moreover, I wish to extend my thanks to all the classical Chine poets and famous poetry translators since I have quoted a lot of their works and words in supporting my argumentation, without the quotations, my disrtation would absolutely lack in proof. Finally, I would like to give my cordial thanks to our university’s library, from which I borrowed a lot of uful reference materials.
Contents
1．Introduction … … … … … … … … … … … … … … … 1
2 . Beauty in sound … … … … … … … … … … … … … … 1
3. Beauty in form … … … … … … … … … … … … … … 5年度安全培训计划
4. Beauty in n … … … … … … … … … … … … … … 8
4.1 Fal translation of a famous line … … … … … … … … 8
4.2 Translation of “puns”… … … … … … … … … … … 9
4.3 Translation of narrative poetry… … … … … … … … … 11
团建活动横幅
4.4 Contemporary on poetry translation that incurred controversial
comments … … … … … … … … … … … … … … …13
5. Conclusion … … … … … … … … … … … … … … …14
References … … … … … … … … … … … … … … … … 16
离婚子女抚养协议
Abstract
Abstract: Classical Chine poetry, the gem of the Chine culture and civilization with a long history of three thousand years, is a unity of sound, form and n. Yet the translated versions usually cannot carry the equal effect and beauty of the original due to the translators’ lack of skill, the differences between the Chine language and the English language and the inherent differences of cultures and civilizations between the two nations. A poetry translator should not be satisfied with the mere conveying of the original meaning to the target language, but must strive for the prervation and reproduction of the original beauty in sound, form and n to the utmost degree so as to best bring out the artistic and musical beauty of the original. In this essay, account is given to each of the three aspects, namely, beauty in sound, beauty in form and beauty in n parately. Beauty in sound mainly consists of beauty in rhythm and beauty in rhy
me; beauty in form refers to the regularity of length of poem lines and the syllables each line contains; beauty in n, the most important element of a poem, lies in the faithfully and artistically conveying of the meaning of the original, which requires the translators’ grasp of the classical Chine literary history and thorough understanding of the context of the original. On this point, the author further divides her argument into four parts. The first part is about veral ridiculous English versions of the famous immortal line “烟花三月下扬州“ of Tang poet Libai ; The cond part is on the translation of “puns”. To illustrate this point, the author takes two Tang poems as examples, they are respectively Li Shangyin’s “…春蚕至死丝方尽…” and Liu Bingxi’s “…道是无晴却有晴…”; the third part focus on the translation of narrative poetry and the author lects the mistaken translations of three lines of Bai Juyi’s 《长恨歌》as examples and gives analys on the mistakes made; The fourth part is about poetry translations that irritate controversial comments. Last but not least is the conclusion of this disrtation, the author unites the three aspects given before into a unity and claims that a good poetry translation should be the prervation and reproduction of the three aspects of the original. Yet due to the fo
rmidable barriers in achieving this perfection, sometimes it’s inevitable to sacrifice one aspect for another less important.
Key words: classical Chine poetry beauty in sound beauty in form beauty in n
摘 要
中国古诗有着三千年历史，是中华民族与文化的精华，它是声、形、意三者的和谐统一。然而，由于译者的翻译水平有限，中文与英文的差异以及两国之间的文化与文明的不同，翻译过的诗歌往往难以传达与原诗同等的效果与美感。一名诗歌译者不应仅仅满足于把原诗的意思完整传递到译文中，而必须尽量把原诗的音、形、意美保持与再创造到最大程度以便能最大程度地传递原诗的美感。在本文中，作者对音美、形美、意美这三个方面分别进行了论述。音美主要指节奏美与压韵美；形美指的是诗段的长短与每段诗句所含音节数量的规律性；意美，诗歌最重要的元素，指的是忠实并灵活地传递原诗的意思——这就要求译者对中国古代文学历史知识的掌握与对原诗上下文意思的透彻理解。在阐释这一点上，作者把她的论据又细分为四部分：首先，第一部分是有关李白的著名诗句“烟花三月下
扬州”的几种谬译；第二部分是对“双关语”的翻译，为了分析这一点，作者举了两首唐诗作为例子这两首唐诗分别为李商隐的“……春蚕至死丝方尽……”与刘丙锡的“……道是无情却有情……”；第三部分集中在叙事诗的翻译上面，作者选择了白居易的《长恨歌》中三个诗句的谬译作为例子并对这些谬译进行了分析;第四部分是对引起争议的著名诗歌译文的剖析与见解。最后在文章的结尾处，作者把之前论述过的三个方面结合为一体并指出一则好的诗歌译文应该是对这三者的保留与再创造。然而，由于追求完美过程中难以逾越的障碍，有时候为了某个方面而牺牲其它比较次要的方面是难以避免的。
关键词：中国古典诗歌 音美 形美 意美
蛇有什么特点
1.Introduction
It has long been believed that pro is words in best order; poetry is the best words in the best order. For me, Poetry, especially the classical Chine poetry, not only has artistic features but also musical quality that combines sound, form and n perfectly. Chine
poetry displays to us a fascinating world of great enchantment, intensive affection and profound meaning. In this world, readers can even smell the fresh fragrance of flower given off from the surface of the poetry. With a long history of three thousand years, it is the gem of Chine culture and civilization. Since good things need good means of conveying, or they will be nothing, to make classical Chine poetry go farther and get more popularized in the outside world calls for good translation of it.
How to translate the Chine poetry into foreign language with the prervation of its original enchantment to the greatest extent? In my opinion, a poetry translator should be far from satisfied with the mere conveying of the ideas in the original, but must strive for the recreation and reproduction of the original beauty in sound, form and n. Only in this way, can a translation version best bring out the artistic and musical beauty of the original to the foreign readers.
2. Beauty in sound
E. A. poe described poetry as “ music…combined with a pleasure idea.” Li
Dongyang, a famous literary critic in the Ming Dynasty claimed that what makes poetry different from pro is that it posss regulated sounds and can be recited. Similarly, Liu xie, a famous ancient literary critic, once alleged in hisThe Literary Mind and the Carving of Dragons, “ The words which t to a piece of music are poetry”（ 李特夫、陈健景，2001）. Their remarks unanimously unveiled the mystery of sound, which endows the poetry with unique beauty of “musical quality”. It is obvious to the most uninitiated readers that poetry makes greater u of the “music” of language than does language that is not poetry.
Beauty in sound mainly consists of beauty in rhythm and beauty in rhyme. In Chine classical poetry, rhythm is mainly created by oblique and even tones, which can be reproduced in the English version by stresd or unstresd syllables. That is to say, a poem may be translated in iambics, trochaics, anapaestics or dactylics.
As for rhymes, since all Chine classical poems are written in rhyme, no English versions without rhyme could reproduce a similar effect to the original.
梦到外婆
第一英文怎么说韩东君个人简介
Cambridge professor Herbert A. Giles was a most famous translator in the 19th century, and the poems collected in his works were of hundreds of years ago, yet readers of his time were tempted to believe that the translated poems ranked among the best ever known. Giles’ success was due to the fact that he had united rhyme and literalness with wonderful dexterity.
