“三元论”思想与程抱一的唐诗法译  

The“Ternary Theory”and the Translation of François Cheng’s Tang poetry

作　　者：胡丹丹 Hu Dandan

机构地区：[1]西安外国语大学

出　　处：《法语国家与地区研究（中法文）》2022年第1期53-62,91,共11页Etudes Francophones

摘　　要：作为中法文化的“摆渡人”,程抱一为推动唐诗在法国的译介与接受做出了重要贡献。探究其唐诗法译实践,可以发现,他对翻译策略与方法的使用在很大程度上受到“三元论”思想的影响。本文立足虚实层、阴阳层和人地天层这三个层面,结合具体案例,剖析程抱一如何在这一思想的指导下,着力于将原诗的审美转化为译诗的审美,成功再现了唐诗的形式之美、音律之美和意境之美。As a“ferryman”of Sino-French culture,François Cheng has made important contributions to the translation and reception of Tang poems in France.By researching his translation practice,we find that the“Ternary Theory”largely influences his translation strategies and methods.Based on the three constitutive levels of poetic language,namely the empty and the full,yin and yang,and manearth-sky and aided by specific examples of the translation of Tang poetry,we analyze how François Cheng,guided by said theory,strove to recraft the aesthetics of original poems into the aesthetics of translated poems,successfully reviving the beauty of form,sound and meaning of Tang poems.

关 键 词：三元论 程抱一 唐诗法译 审美 

分 类 号：I046[文学—文学理论]