从翻译美学角度对比散文诗《匆匆》的两个英译本_英语论文

A Comparison of Two English Versions of Congcong from the Perspective of Translation Aesthetics

摘要

散文诗是诗和散文交叉渗透而产生的现代抒情文学体裁，注重描写客观生活触发下思想情感的波动和片断。它有诗的情绪和幻想﹐又保留了散文的形式和描写细节，且不乏内在的音韵美和节奏感。《匆匆》是朱自清一篇脍炙人口的散文诗, 写于1922年“五四”落潮期，眼前春景激发了作者对于时光飞逝，时不我待的感伤，流露出他自我剖白的痛苦，也可看出他徘徊中的执着追求。全文在朴素平淡中透出浓烈的抒情气氛。

翻译美学是以美学视角进行翻译研究的新兴学科，它立足于我国丰富的传统美学译论，针对汉语语言和文本的特点，借鉴现代美学的基本理论和结构框架来阐释翻译的机制和功能，为文学翻译的研究提供了一个新的视角，尤其是针对诗歌，散文诗和抒情散文一类审美价值较高的文体。

本文选择了张培基和朱纯深的英译本，以翻译美学中翻译审美客体的形式系统和非形式系统为结构框架来探讨译本中对于《匆匆》不同审美要素的审美再现。通过系统化和细节化的分析和对比，发现这两个较为成功的译本都较好地再现了原作的审美价值,但是两个译者对于原作的审美再现各有取舍：张培基的译本在选词方面更加细致精准，语义传达度更高，而且更多考虑英语作为形合语言的特点，在句法结构上做了较多调整；朱纯生的译本在行文格式上更忠实于原文，较好的再现了原作的写作风格。

关键词：翻译美学；《匆匆》；译本分析；审美再现

Abstract 

Prose poetry is a modern lyric literary genre with features of both poetry and prose: it has luxuriant emotions and fantasy as a poetry, descriptive details and forms as a prose, as well as the musicality produced by beat and rhyme in a more liberal way. Congcong written by Zhu Ziqing(朱自清) is just such a work, in which the author expresses his sadness and helplessness about the fleeting time. 

Translation aesthetics is a rising discipline studying translation from the perspective of aesthetics. To apply translation aesthetics to the literary translation and criticism, especially when poetic types such as poetry, prose poetry and lyric prose are dealt with, is of great significance, because a good translation is required to transfer the beauty of the original work to the version as much as possible.

This thesis selects two highly-praised English versions—Rush by Zhu Chunshen(朱纯深) and Transient Days by Zhang Peiji(张培基). The method adopted is to divide the aesthetic constituents of the original text into formal system and non-formal system under the guidance of translation aesthetics, and to analyze the aesthetic representation of translators in two versions. Both versions well represent the beauty of the original text, but show differences on which part of aesthetic flavor to focus on. Generally speaking, Zhang’s version shows more delicate handing with the sense, while Zhu’s translation achieves better artistic conception. Besides, Zhang concerns more about the acceptability of the target readers thus makes obvious adaptation in the syntactic forms, but Zhu is apt to retain the forms of the original work, which contributes to the representation of the writing style.

Key words: translation aesthetics; version analysis; Congcong; aesthetic representation

Contents

1. Introduction 1

1.1Research Background 1

1.2Research Purpose and Significance 1

2. Literature Review 2

2.1The Historical Origin of Translation Aesthetics 2

2.2 The Modern Development of Translation Aesthetics 2

2.3 Concepts Related to Translation Aesthetics 3

2.3.1 Translation Aesthetic Object and its Aesthetic Constituents 3

2.3.2 Translation Aesthetic Subject and its Attributes 4

2.3.3 Aesthetic Representation 4

3. Representation of Aesthetic Values in TAO 5

3.1 Aesthetic Representation of the Formal Aesthetic Values 5

3.1.1Representation at the Phonic Level 5

3.1.2 Representation at the Lexical Level 9

3.1.3 Representation at the Syntactic Level 10

3.2 Aesthetic Representation of the Non-formal Aesthetic Values 13

3.2.1 Beauty of Sentiments 13

3.2.2 Beauty of Artistic Conception 14

3.2.3 Beauty of Style 15

4. Conclusion 16

4.1 A Summary of the Performances of Translators 16

4.1.1 Performance in Dealing with Sense 16

4.1.2 Performances in Dealing with Form 16

4.1.3 Performances in Dealing with Spirit 17

4.2 The Room for Improvement in Both Versions 17

4.3 The Limitation of the Research 18

References 19

Appendix 20