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本体诗歌翻译理论主要探讨译文与原文在形式与内容上的关系。译文与原文应该达到形似还是神似,译者应该求真还是求美,这是翻译界一直争论的话题。按照“形似与神似,求真与求美”的关系来分析江枫先生对艾米莉·狄金森的两首诗歌“暴风雨夜”和“篱笆那边”的翻译,可以看出,标点符号、遣词、诗歌的韵式和诗人的创作风格等方面体现了江枫译文的特点和风格:译文选词简单但富有张力,行文简约而内敛,与原诗风格颇似;但由于过于追求简约而稍显生硬和晦涩。总之,江枫的译文是形似与神似结合的典范,体现其“形似而后神似”的主张以及“简约而忠实”的风格,但并未完全实现“求真与求美”的完美结合。
Ontological poetry translation theory mainly discusses the relationship between translation and original texts in form and content. Translation and original should be similar or similar, the translator should seek truth or beauty, which is the topic of debate in the field of translation. According to the relationship between “similarity and similarity, truth and beauty”, Mr. Jiang Feng’s translation of Emily Dickinson’s two poems, “Stormy Night” and “Fenceside”, can be seen The characteristics and styles of Jiang Feng’s translation are reflected in his poems, speeches, punctuation, wording, poetic rhyming style and poet’s style of creation. The translation style is simple but full of tension. The style is simple and restrained, which is similar to the style of the original poem. However, Pursuit of simple but slightly stiff and obscure. In short, Jiang Feng’s translation is an example of a combination of form and spirit, embodying his “shape-like and divinely-like” proposition and his style of “simplicity and loyalty,” but not completely realizing “truth and beauty” perfect combination.