图形-背景理论视域下的中国写景抒情诗翻译研究--以杜甫《登高》英译本为例  

Translation of Chinese Landscape Lyric Poetry from the Perspective of Figure-Ground Theory--A Case Study of Translated Versions of Denggao by Dufu

作　　者：王雅颖 胡志雯[1] WANG Yaying;HU Zhiwen(School of Foreign Languages,Hunan University,Changsha 410082,China)

机构地区：[1]湖南大学外国语学院,湖南长沙410082

出　　处：《沈阳大学学报（社会科学版）》2022年第6期655-663,共9页Journal of Shenyang University:Social Science

基　　金：湖南省哲学社会科学基金资助项目(16YBA080);湖南省普通高等学校教学改革研究项目(HNJG-2021-0372)。

摘　　要：在图形-背景理论中,图形是认知中凸显的部分,是关注的焦点;而背景在认知中凸显程度相对较低,可看作环境。从该视角切入,结合“名含动”假说对“写景抒情诗”提出了一个新的“图形-背景识解框架”。以杜甫经典写景抒情诗作《登高》为例,运用该框架对原诗中的“图形”与“背景”进行识解,并将原诗识解出的“图形”与“背景”与两个中国人译本、两个外国人译本进行对比,结果发现中国译者更能把握原诗精髓并恰当转码。研究进一步验证了“图形-背景理论”在古诗翻译领域的阐释力,为中国文化“走出去”提供了一个可行路径。In Figure-Ground theory,the figure is the salient part of cognition,which can be the focus of attention,while the ground is relatively less prominent and can be the environment.From this point of view,this paper proposes a revised interpretative frame of the Figure-Ground theory for the landscape lyric poetry combined with“super-noun”hypothesis.Taking Dufu's classic poem Denggao as an example,it analyzes the“figure”and“ground”of the original poem,and compares the“figure”and“ground”in the English versions of the poetry translated by two Chinese and two foreign translators.It shows that the Chinese translators could better grasp the essence of the original poem and transcribe it appropriately.The study further verifies the interpretative power of the Figure-Ground theory.Furthermore,it provides a feasible path for Chinese culture to“go global”.

关 键 词：图形-背景理论 “名含动”假说 古诗翻译 写景抒情诗 中国文化“走出去” 

分 类 号：H059[语言文字—语言学]