论《花笺记》及其英译本诗歌音乐性的传递与再现  

A Study of Musicality Transmission and Reproduction in the Translation Version of Hua Jian Ji

作　　者：李燕霞[1] LI Yan-xia(School of Foreign Languages ＆ Trade, Guangzhou Panyu Polytechnic, Guangzhou 511483, Guangdong, China)

机构地区：[1]番禺职业技术学院外语外贸学院,广东广州511483

出　　处：《韶关学院学报》2016年第7期52-57,共6页Journal of Shaoguan University

基　　金：2013年广东省哲学社会科学"十二五"规划项目"广东木鱼书<花笺记>的早期英译研究"(GD13CWW04);2015年广东省哲学社会科学"十二五"规划2015年度学科共建项目"佛禅意蕴与古典诗美--肯尼斯.雷克思罗斯诗歌汉译研究"(GD15XWW18)

摘　　要：明末清初广东木鱼歌《花笺记》是叙事性的说唱文学作品,汤姆斯的《花笺记》英译本在西方久负盛名。基于诗歌音乐性特征,从创作手法和描绘意境两方面解读《花笺记》的音乐性,剖析汤姆斯译本"以诗译诗"中诗歌音乐性的传递与再现。Hua Jian Ji was a masterpiece written during Ming and Qing Dynasties. Thoms, the western scholar, translated the fiction in the poetic way. Poetical musicality is an essential attribute of poems, a type of art form inte- grating poem with music. This article tends to analyze the characteristics of poetical musicality and interpret the musi- cality of this work from the perspectives of creation approach and artistic conception. It takes Thoms＇s Chinese Courtship in Verse as an example to show how poetical musicality was transmitted and reproduced.

关 键 词：《花笺记》 诗歌音乐性 传递 再现 

分 类 号：H315.9[语言文字—英语] J60[艺术—音乐]