从“三美论”视角浅析中国古代青楼诗人诗词翻译——以柳如是诗词为例  

An Analysis of Chinese Ancient Courtesan Poetesses' Poetry Translation from the Theory of "Three Beauty"——Taking the Case of LIU Ru-shi's Poetry

作　　者：刘文婷[1] 

机构地区：[1]西南科技大学外国语学院,四川绵阳621010

出　　处：《西南科技大学学报（哲学社会科学版）》2011年第4期79-83,共5页Journal of Southwest University of Science and Technology:Philosophy and Social Science Edition

基　　金：四川外国语言文学研究中心重点项目"中国古代女性诗人诗词翻译研究"的研究成果(项目编号:SC-WY09-02)

摘　　要：中国古代青楼诗人,作为一个特殊的群体构成了古代诗人中一道独特的风景线,其诗词大多具有清婉绝伦的风格。在意象的选择上,黄昏、月色,花柳等,常常流连于她们笔下;在声律节奏的表现上,具有音乐文学的特点;在诗歌形式的选取上,注重对仗。许渊冲先生的"三美论"作为翻译的美学理论,对诗词翻译实践有着重要的指导作用和影响力。因此,以青楼诗人柳如是诗词为例,比较许渊冲和其他译者的译作,从而证实了在"三美论"的指导下,能够使之在翻译的过程中得到最大程度的真实再现。Regarded as a special group,the courtesan poetesses in ancient China have added a unique scenic line to the ancient poets.Their poetry,which is characterized by its peculiar style,can fully express Chinese ancient courtesan＇s aspirations.In terms of images,＂dusk,moon,willow,and flower＂ often occur in their poetry;In terms of rhythms,it is characterized by the style of musical literature;about forms,antithesis is often used.The theory of ＂Three Beauty＂ put forward by XU Yuan-chong plays a quite important role in translation.Therefore,take the case of Chinese Ancient Courtesan poetess-LIU Ru-shi＇s poetry to analyze the translation of Chinese ancient courtesan poetesses＇ poetry by XU Yuan-chong and other translators,thus confirms that from the theory of ＂Three Beauty＂ can better reproduce its ＂meanings,rhythms and forms＂

关 键 词：古代青楼诗人诗词 三美论 翻译 

分 类 号：I046[文学—文学理论]