诗歌译解:跨越翻译叙事的审美距离——基于刘华文《翻译诗学》的考察  

Bridging the Gap of Aesthetics Distance in Poetry Translation

作　　者：张宏雨 ZHANG Hongyu(School of Foreign Languages, Shanghai Jiao Tong University, Shanghai 200240, China)

机构地区：[1]上海交通大学外国语学院,上海200240

出　　处：《中州大学学报》2022年第1期102-108,共7页Journal of Zhongzhou University

基　　金：2016年度国家社科基金项目“语用学视角下外宣翻译的‘中国话语’体系构建研究”(16BYY029)。

摘　　要：诗歌译解研究,鲜见从“审美距离”思维方法论角度来展开。因诗译叙事常伴随创造,故而译文并非“零度写作”的结果,它与原文之间难以保持零距离,会产生审美心路及效果的差异,即审美距离。从刘华文《翻译诗学》来看,原诗与译诗之间审美距离被拉远的动因在于:原诗中的“眼前之物”与译诗中的“言下之物”之别;翻译选择中的“近取譬”与“远取譬”之别;“观译”与“看译”之别;原诗与译诗不同“自感”下的“感人”之用之别。译者可以通过主体审美经验体认的主动介入,明辨原诗“表于言”(小用)与“隐于言”(大用)之间的关系,化“小用”为“大用”,深入诗意之“心源”,努力跨越翻译叙事中的审美距离。The paper explores poetry translation from the perspective of translation aesthetics distance.It is impossible to realize zero degree distance between the translated version and the original poem,for the process of poetry translation is also the one of poetry creation,thereby leading to the difference of aesthetics which is called aesthetics distance in the present paper.In light of Translation Poetics written by Liu Huawen,causes that aesthetics distance is broaden between a translated poem and an original one can be summarized as follows.First,the image in a poem derives from the author’s vision or mind,while,in translated version,it only comes from translators’mind.Second,in describing an object,the author of original poem usually chooses the object before his or her eyes while a translator has no other choice but makes one available in his mind.Third,feeling from the author towards a poem is different from that of translators.Hence,to be faithful to the original poem,a translator uses his or her aesthetics experience to identify the implied meaning of the original poem and spares no effort to bridge the gap of aesthetics distance.

关 键 词：汉语诗歌 英译 《翻译诗学》 审美距离 

分 类 号：H059[语言文字—语言学]