刘半农的译诗与“五四”前的诗歌翻译规范  

Liu Bannong's Poetry Translation and Translation Norms before May Fourth Movement

作　　者：蒋芬[1] 卢少雯[2] 

机构地区：[1]玉林师范学院,广西玉林537000 [2]广西民族师范学院,广西崇左532200

出　　处：《广西民族师范学院学报》2014年第1期82-84,共3页

基　　金：广西高等学校人文社科项目"译介学视野下中国近代英诗汉译研究"研究成果之一;项目编号:SK13LX290

摘　　要：随着新文化运动的深入和文学改良思想的提出,刘半农提出增多诗体的诗学追求,对部分译诗又采取充分性翻译策略和运用白话语体,从而造成其诗歌翻译体式的杂合。这种"杂合"的译诗倾向表明了译者对诗歌语体与形式的探索,亦反映出了翻译规范的矛盾性和不稳定性。运用图瑞的翻译规范理论对刘半农"五四"前的诗歌翻译进行探讨,总的来说刘半农遵守初始规范和操作规范,在翻译过程中套用传统的诗歌形式,采用浅近文言的语体、可接受性的翻译策略。This paper discusses Liu Bannong’ s poetry translation before May Fourth Movement in the light of Toury’ s theory of translation norms. General y speaking, Liu’ s translation obeys initial norms and operational norms. In the process of translating, he adopts accepted transla-tion, that is, applying traditional forms of Chinese poetry and classical language. With the deepening of the New Culture Movement and putting forth of the reform of literature, Liu advocates the purposes of the increase of poetry forms. After that, he adopts the strategy of adequate translation and vernacular language, thus resulting in the combination of poetic forms. This “combination” embodies the translator’ s thought on language and form and simultaneously the contradictions and unstabilities of translation norms.

关 键 词：翻译规范 刘半农 诗歌翻译 

分 类 号：H059[语言文字—语言学]