美学翻译的三个层次--兼析刘士聪的美学翻译艺术  

The Three Levels in Aesthetics-Oriented Translation

作　　者：王树槐[1] 

机构地区：[1]湖北省武汉市华中科技大学外国语学院,430074

出　　处：《外语教学理论与实践》2009年第2期73-78,共6页Foreign Language Learning Theory And Practice

基　　金：国家社科基金项目《英语专业本科生翻译教学研究》(08CYY006)的部分研究成果

摘　　要：在西方文体学和我国传统文论的基础上,我们提出文学作品及其翻译的审美三层次:表层美质、中层美质和深层美质。表层美质包括修辞、变异、音律、口吻;中层美质包括意象/形象、情感;深层美质包括气韵、意境。遵从这三个层次的标准,我们以《风筝》的部分译文为例,分析刘士聪的美学翻译艺术。Western stylistics attaches great importance to the stylistic meaning carried by the form of words and sentences, and it is featured by objective analysis. Whereas traditional Chinese aesthetics values the artistic force and conception of the works, and it is featured by subjective impression. Combining these two major aesthetics, this paper intends to advance the idea of three levels of aesthetic representation in literary works and their translation： the superficial level which finds expressions in rhetoric, deviation,sound, and tone; the intermedi conception. The current paper, ate level in image and affection; the deep level in artistic force and following the suggested three-level standard, attempts to analyze Liu Shicong＇s translation of Lu Xun＇s ＂The Kite＂ in part. Our investigation shows, as for rhetoric, Liu follows the original sentence patterns; for rhythm, he recreates rhythmic structure so as to make the translation sound like a poem; for image, he keeps all the color images and dynamic images; for affection, he supplements ＂affection of subject matter＂ with ＂affection of form＂, transmitting the depressive mood to the translation. Based on all of this, he successfully reproduces the artistic force and conception of the original work.

关 键 词：翻译艺术 刘士聪 美学 传统文论 文学作品 《风筝》 美质 文体学 

分 类 号：B83[哲学宗教—美学]