形意张力与以诗译诗——以赵彦春《英韵三字经》为例  

Form-meaning Tension and Poetry Translation:A Case Study of Zhao Yanchun's The Three Word Primer

作　　者：刘向东[1,2] LIU Xiangdong(School of Foreign Languages,Tianjin University of Science and Technology,Tianjin 300222,Chin;Faculty of Humanities,The Hong Kong Polytechnic University,Hong Kong 999077,China)

机构地区：[1]天津科技大学外国语学院,天津300222 [2]香港理工大学人文学院,香港999077

出　　处：《浙江外国语学院学报》2018年第4期33-40,共8页Journal of Zhejiang International Studies University

基　　金：天津市哲学社会科学规划项目"翻译的政治:从翻译的政治视角到政治的翻译路径的演变"(TJWW13-032)

摘　　要：本文探讨"以诗译诗"在语言不同层面的运作问题。研究表明,一首诗在其语言各层面的形意关系构成一个形意张力场,是诗之为诗的核心要义。诗之可译在于其形意张力的可译与趋同,进而做到"以诗译诗"。诗歌形意张力趋同可以从四方面进行运作:在两种语言共享的体系特征间进行切换、语言体系间的类比、语言层次间的协调与互补和文化张力趋同。这些要素共同构成"以诗译诗"的方法论。同时,本文以赵彦春《英韵三字经》为例,具体说明形意张力的切换如何在译诗中获得恰当的"相解"。The issue of language, in particular the form-meaning relationship, is of great value in dealing with translation. Poetry, as the essence of language, is made possible by the form-meaning tension that is present at different levels of language. It is this tension that makes the esthetics of poetry possible. Consequently, poetry translation has to properly address this tension, so as to achieve ＂mutual comprehension＂ and ＂converging similarity＂. With these thoughts in mind, the author of this paper aims to depict the form-meaning tension in poetry and the possible guiding principles in poetry translation. Then, some examples from The Three Word Primer will be used as illustration for the ideas proposed in the paper.

关 键 词：形意关系 译诗 形意张力趋同 

分 类 号：H315.9[语言文字—英语]