硕士学位论文-从美学角度对《红楼梦》杨译本习语分析.doc

上海海事大学SHANGHAI MARITIME UNIVERSITY硕 士 学 位 论 文MASTERS DISSERTATION论文题目：从美学角度对红楼梦杨译本习语分析 学科专业：外国语言学及应用语言学 作者姓名：胡 艳 指导教师：吴 慧 副教 授 完成时间：二零零九年六月 论文独创性声明 本论文是我个人在导师指导下进行的研究工作及取得的研究成果。论文中除了特别加以标注和致谢的地方外，不包含其他人或其他机构已经发表或撰写过的研究成果。其他研究者对本研究的启发和所做的贡献均已在论文中作了明确的声明并表示了谢意。 作者签名： 日期： 论文使用授权声明 本人同意上海海事大学有关保留、使用学位论文的规定，即：学校有权保留送交论文复印件，允许论文被查阅和借阅；学校可以上网公布论文的全部或部分内容，可以采用影印、缩印或其他复制手段保存论文。保密的论文在解密后遵守此规定。作者签名： 导师签名： 日期： The Yangs Translation of Idioms in Hong Lou Meng from the Perspective of AestheticsByHu YanA ThesisSubmitted to the Graduate School and College of Foreign Languages In Partial Fulfillment of the Requirements forThe Degree of Master of ArtsUnder the Supervision of Associate Professor Wu HuiShanghai Maritime UniversityJUNE 2009摘要翻译美学在当前被认为是具有中国特色的，具有跨学科特点的，有别于西方翻译理论模式的翻译理论学派，他使中国的翻译理论带有了鲜明的民族色彩。中国传统翻译理论与美学的结合可以追溯到佛经翻译，又经过严复，傅雷，钱钟书等翻译大师的继承与发展。翻译美学的理论范畴就是运用美学的基本原理，分析，阐述和解决语际转化中的美学问题，包括对翻译中的审美客体，审美主体和审美关系的研究，对审美过程，审美再现手段和审美标准的研究，以达到解决语际转换中遇到的具体问题，提高译文的可读性。刘宓庆教授继承了中国传统美学思想，将之用于指导翻译实践，把中国现代翻译美学推向了一个新的高度。根据他的理论，翻译是语言再现的艺术，是一个审美过程，最终要达到审美再现。审美再现就是用译文再现原文的各种美学元素，让译文读者感受到与原文读者相同的审美体验，是翻译审美体验的最后一个环节，也是最关键的环节。 文本以现代翻译美学理论，通对杨宪益和夫人戴乃迭译红楼梦中习语个例翻译审美再现的具体语料分析，探讨杨译本习语翻译的审美再现的主要表现类型（模仿与改写），以及审美原则的运用(虚与实，放与收)。红楼梦是中国古代文学史上最伟大的杰作。红楼梦语言艺术上积极巨大的成功原因之一就是大量使用丰富多彩的习语，正如著名学者张培基所说整个红楼梦从头到尾附拾皆是大量的习语，谚语，歇后语等。习语是一种富有形象色彩的语言手段，是经过长时间的使用而提炼出来的短语，是语言的核心和精华部分。本文中所讨论的习语包括成语，俗语，谚语，歇后语，粗俗语。这些习语声音和谐，意义独立， - - -有很强的民族性，具有丰富的美学内涵。杨宪益在吃透原文的，充分理解原文美学因素的基础上，译之以真切的文辞，表之以地道的英语。这也是本文选定杨译本的原因。这篇论文共分四章。第一章回顾了东西方翻译史上美学和翻译结合的渊源与发展，以及现代翻译美学的主要理论。中国传统翻译理论几乎都与哲学-美学有渊源。从支谦的“信言不美，美言不信”，道安的“案本而传”，玄奘的“求真务实”到三元论：严复的“信，达，雅”；二元论：傅雷的“形似，神似”：一元论：钱钟书的“化境”：西方的翻译美学理论可以分为四个阶段：古典译论期，古代译论期，近代译论期和近代译论期。从中可以得出：美学对于中国传统翻译理论的影响远远大于它对于西方翻译理论的影响。本文所采用的翻译美学理论主要以刘宓庆教授的理论为基础。翻译美学的主要参与者是审美客体和审美主体。翻译中的审美客体指的是原文和译文。审美客体的美学构成分形式构成（主要包括语言层面，词汇层面和句法结构，风格层面）和非形式构成（主要包括情、志、意、象）。对于审美主体，本文主要介绍译者。译者的的审美前结构既情、知、才、志在审美过程中发挥主动性作用。整个审美过程要遵循理解-转化-加工-再现的规律。翻译审美再现的主要方式是模仿与改写。模仿分三种：以译文为基础的模仿，以原文为基础的模仿和动态模仿。 第二章首先对红楼梦中的习语进行界定。通过大量个例从形式美学构成和非形式美学构成两方面分析红楼梦中习语。形式美学构成包括语音层次、词汇层次和句法结构层次；非形式美学构成主要从意象美和文化内涵每进行分析。然后简要介绍译者杨宪益和夫人戴乃迭译，对他们的美学前结构进行分析，证明他们具备审美的才情，知识结构，和审美经验。 第三章以翻译美学理论为基础，探讨杨译本红楼梦习语翻译审美再现的主要表现类型，以及审美原则：杨译本中如何运用虚与实，放与收原则体现原文中的美。翻译美学对翻译有着重要的指导作用，特别是原文作者和译文同处相同的文化背景中，受一脉相承的中国传统美学思想影响，而且刘宓庆的理论也是在这个基础上形成，因此应用到个例分析中十分合适。杨译本中的习语是翻译中审美再现的成功之作。 第四章是对整个论文的总结。大量的例证证明杨译本习语翻译中遵守了翻译美学的基本原理与原则。在这章作者指出：翻译过程中不仅是两种语言，两种文化的交流，还是以两种审美情趣为基础的思想上的沟通。在翻译中，译者要结合本身文学艺术修养，尽量传输原文美学元素，让译文读者感受到原作的审美价值。同时，翻译美学理论研究和应用是不可逆转的趋势。关键词：翻译美学，杨译本红楼梦习语翻译，审美再现 Abstract Aesthetics has played an active role in Chinese translation theory ever since the Buddhist scripture translation. In the process of the development of translation theory, many translators have made great contribution to the Chinese traditional aesthetic translation theory. Among them, prof. Liu Miqing has made special efforts to the development of the contemporary translation aesthetics. According to Prof.Liu, the main partners in the aesthetic process are aesthetic objects, which include presentation constituents and non-presentation constituents, and aesthetic subjects. The core of translation aesthetics is to use the target language reproduce the aesthetic values in the source language. Based on Chinese translation aesthetics, the thesis makes a tentative study on the representation of aesthetic values in Yangs English version of the idioms in Hongloumeng. Hongloumeng is one of the greatest literary works in Chinese history. One of the main achievements of the novel is the proper use of Chinese idioms which are of figurative language and their images are usually vivid and culture-specific. The idioms in Hongloumen demonstrate the characteristics of Chinese cultural and language. Idioms in this thesis include Set phrases of four characters, Proverb, convention, xiehouyu and slang. Professor Liu Miqings aesthetic translation is employed in the analysis of the version. The thesis begins with a brief introduction of aesthetic translation theory at home and abroad, and then the main notions, theoretical foundation of the translation aesthetics. In chapter Three, the author of the thesis give an analysis of the characters of idioms in the novel, their aesthetic values and the pre-structure of the translators Yang Xianyi and Gladys Yang. The main part of the thesis is chapter Four. In this chapter, analysis is given to main patterns of the representation adopted in Yangs version and two pairs of aesthetic principles, namely, generalization and specification and amplifying and contracting. The last chapter is a conclusion. Apart from the language exchange and cultural exchange between two languages, bilingual translation is also a aesthetic idea communication. Through a detailed comparison between the source text and the target text, the thesis shows that Yang Xianyi and Gladys Yang succeeds in representing the aesthetic values of the idioms in Hongloumen in their English version. It turns out that Yang has reproduced the presentation and non-presentation constituents in the original text. The thesis aims to display the beauty of the source text and the target text. It is not enough to convey the meaning of the original, but also need to reproduce the aesthetic values of the original. With a concrete study, the thesis demonstrates the values of aesthetic representation and the relevant method and theory of Liu Miqing. In addition, the author wants to raise some interests in the study of traditional translation aesthetics in china.Key words: translation aesthetics; Yangs English version of the idioms in Hongloumeng; aesthetic representationContentsChapter One Introduction- 1 -Chapter Two Translation Aesthetics- 3 -2.1 Definition- 3 -2.2Origin of Translation Aesthetics in China- 4 -2.3 Origin of Translation Aesthetics in the West- 7 -2.4 Basic Concepts in Contemporary Translation Aesthetics- 9 -2.4.1 Aesthetic object- 9 -2.4.2 Aesthetic Subject- 12 -2.5 The Process of Aesthetic Representation in Translation- 13 -2.5.1 Comprehension- 14 -2.5.2 Transformation- 14 -2.5.3 Improvement- 15 -2.5.4 Representation- 15 -2.6 Main Patterns of the Aesthetic Representation in Translation- 17 -2.6.1 Imitation- 17 -2.6.2 Recast- 18 -Chapter Three The Idioms in the Classical Chinese Novel Hongloumeng , Their Aesthetic Values, and Yangs English Version- 20 -3.1 The Idioms in Hongloumeng- 20 -3.2 The Aesthetic Values of the Idioms in the Classic Novel Hongloumeng- 22 -3.2.1 Beauty of Presentation Constituent- 23 -3.2.2 Beauty of Non-presentation Constituent- 28 -3.3 About Yang and his English Version- 32 -Chapter Four Analysis of Yangs Version of Hongloumeng- 35 -4.1 Main Patterns of the Aesthetic Representation of Idioms in Yangs Translation- 35 -4.1.1 Imitation- 35 -4.1.2 Rewrite- 44 -4.2 Main Aesthetic Principles Adopted in Yangs Idioms Translation- 46 -4.2.1 “Generalization” and “Specification”- 46 -4.2.2 Amplifying and Contracting- 48 -Chapter Five Conclusion- 50 -Bibliography- 52 -Chapter One IntroductionHongloumeng, the masterpiece of Cao Xueqin in the Qing Dynasty of china, is the most influential work in china. As one of the best known Chinese classical novels in the whole of the Chinese literature, Hongloumeng has witnessed heated controversies regarding of the evaluation of its ideological tendency and artistic values since its first printed edition in January 1792.Apart from its significance at home, Hongloumeng occupied an unparalleled position in world culture as well as the most brilliant pearl in the depository of literature. There are two complete English versions abroad and at home. One is translated by David Hawkes entitled The Story of the Stone, while the other is by Yang Hsian-Yi and Gladys Yang entitled A Dream of Red Mansions. During those 20 years, criticisms over the two translations have sprung up. In spite of the criticisms of the translation of the novel, their contributions have produced a far-reaching effect on the spread of the classical work. However, there is still not much discussion about the idioms in this novel. Idioms play a very important role in the success of the great novel. So, the author of the thesis chooses idioms as her objective of investigation. In one hand, it is impossible to discuss all the language in Hongloumeng, which is too demanding. On the other hand, the author is deeply touched by musical sound, concise language, vivid images and cultural connotation of the novel in her process of reading the novel. Inspired by the aesthetic properties of idioms in Hongloumeng, the author aims to analysis the aesthetic values of idioms and their reproduction in the Yangs version on the basis of translation aesthetics which has a close relationship with Chinese philosophy and embodies Chinese ancient aesthetics.Aesthetic theory has a long development history in china. The fist attempt can be dated back to the Buddhist scripture translation. From the “the sweet words are not sincere, and sincere words are not sweet” (“信言不美，美言不信”), the “faithful transfer of the original”（“案本而传”）, “faithfulness, expressiveness, and elegance” （信，达，雅）, “ conformity in spirit and conformity in form”(“神似和形似”)，to the “sublimation”(化境)，all these theories have certain relationship with aesthetics. Professor Liu Miqing has made great contribution to the development of modern aesthetic translation theory in China. By combining the ancient aesthetics with translation, Liu has created a relative complete translation aesthetic theory and marked his milestone position in the modern translation theory. This thesis attempts to adopt Lius theory to analysis aesthetic representation in Yangs version. From the analysis, the author draws the conclusion that the translator has fulfilled his task to represent the beauty of the idioms in Hongloumeng in his version. On the whole, he adopts various strategies to bring the target readers to the original so that they can enjoy the beauty of the original. Chapter Two Translation Aesthetics2.1 DefinitionTranslation aesthetics, a translation exploration with the aesthetic approach, is an activity of using one language (TL) to represent the beauty and artistic style of the original (ST). Looking back Chinas development of translation artistry, people will find a close tie between classical aesthetics and the traditional Chinese translation theory. Unlike the western translation studies, translation aesthetics is the particular embodiment of the traditional translation theory in China. In China, translation aesthetics has been established as an independent translation theory, which presents its uniqueness and energy among a large number of other theoretical studies in translation. (Li Jie，2007) The combination of translation with aesthetics is the most striking feature in traditional translation theory in China. Confucius, the great ancient thinker and educator in China, put forward “speeches without grace can not go far” That is to say, parting from expressing the exact meaning of the original, the translation should also be graceful and readable.What is the specific identification of translation aesthetics?Fang Mengzhi has given a definition of it. According to Fan, translation aesthetics is to reveal the aesthetic origin in translation, to discuss the specific sense of aesthetics to translation, to explore the scientific and artistic nature of translation from the aesthetic angle of vision, as well as, with the basic principles in aesthetics, to put forward aesthetic standard of translations to different texts with the purpose to analyze, explain and solve the aesthetic problems arising in the interlingua transformation. And, on the basis of full understanding of the attributes of aesthetic object (the source text)and the aesthetic object (the translator),it is to analyze the aesthetic constitute of the aesthetic object and the active role of the translator, to define their relationship and to provide the types and methods to guide the translation practice.(Fang Mengzhi，2004：296) From what was stated above, we can learn that translation aesthetics mainly studies the following aspects: the aesthetic object (SL TL), aesthetic subject (translator reader), aesthetic activity, aesthetic judgment, aesthetic appreciation, aesthetic standard and aesthetic representation.（Mao Ronggui，2005：7） In other word, translation aesthetics is a process of reproduction and recreation of the aesthetic value in the source text into the target text. But what is the aesthetic value, or the aesthetic element? Fu Zhongxuan (傅仲选)believes that aesthetic value is equal to “goodness” or “faithfuless”from an ethical perspective.2.2 Origin of Translation Aesthetics in China Reviewing the traditional Chinese translation theories, we can find that nearly all the proposition of them have philosophic and aesthetic origins. (Zhang Boran，Zhang Sijie，1997). Chinese traditional theory can be dated back to about 1700 years ago, when translators started to translate Buddhist scripture from Sanskrit (天竺语) to Chinese. Besides being quite different from the target language (Chinese), the scripture is very abstruse to grasp. Translation at that time was a new field and lacked theoretical back-up. Therefore, translators had to turn to the ancient philosophical concepts for theoretical foundation. It is generally believed that the first attempt in this field is made by Zhi Qian (支谦)，who quoted Lao Zis(老子) maxim that “the sweet words are not sincere ,and sincere words are not sweet”. Lao Zhi stressed the significance of faithfulness and truth with neglecting the ornate beauty. ( Liu Miqing, 2005：44) Zhi Qian adopted Lao Zis maxim as his theoretical pattern in his pursuit of faithful scripture translation. It is said to be the earliest translation theory in China. ( Liu Miqing，2005:59) Throughout the whole course of Buddhist scripture translation, the mainstream of Chinese traditional translation theory was the dispute over the emphasis on form (wen) or on content (zhi). This two concepts were the doctrine of Confucius “ only when ornament and substance are duly blended and you get the true gentleman” which means the perfect integration of form (wen)and content (zhi).Used a criteria for translation, those adhered to “content” upheld the aesthetic philosophical notion given by Laocius, while those to “form”belived in “simple and straight forward writing is closest to the original text” (朴则近本) .Dao an(道安314385)，a well-known monk of Qian Qin state during the East Jin Dynasty ,was a representative figure of the school of the “content” who stuck to the “faithful transfer of the original”（“案本而传”）.But Kumarajiva(鸿摩罗什 344413)，one of Dao ans contemporaries and a representative figure of the school of the “form”, emphasized free translation and supported the usage of any necessary omission and addition in order to make the scripture readable. Thanks to his reform, free translation dominated the translation field for more than two centuries. Xuan Zang (玄奘) brought forward the perfect unit of both “form” and “content”. He advanced his own criteria of translation with “the faithfulness to the original and readability to the populace (求真喻俗). ( Liu Miqing，2005:63)This “new method” he created stressed the appropriate use of both literal translation and free translation in the translational practice. ( Liu Miqing，2005:63)To some extent, Xuan Zangs concepts are equal to the contemporary translational aesthetics which assert a harmonious unity between the faithfulness of the content and the grace of the form. In the process of translational theory exploration , the unity of“content” and “form” was the core issue .In addition, other traditional aesthetic principles are borrowed to be used as translational criteria. Generally speaking, it can be divided into three types: 1). triple model: faithfulness, expressiveness, and elegance. 2). binary model: spirit and form. 3). single model: sublimation. In 1896, Yan Fu (严复) presented his triple principles of translation, namely “faithfulness, expressiveness, and elegance” （信，达，雅）(Liu Miqing,1995:64), which was carried on in chinas classic philosophy- aesthetics and entitled as the most influential translation theory in modern China. The concept “faithfulness” was inherited from Lao Zis aesthetic thoughts and “expressiveness” and “elegance” from Confucius, who points out that “ all the matters is to get ones meaning thorough”(“辞，达而已矣”)(quoted in Arthur Waley,2000:213) and “supreme beauty and supreme good” (“尽善尽美”) ( Liu Miqing，2005:114). This triple principle has generalized the aesthetic criteria and value for translation and contributed a lot to the traditional Chinese translation theory. In 1950s, Fu Lei (傅雷 1908-1966) proposed the binary principle of “ conformity in spirit and conformity in form”(“神似和形似”). Fu Lei insisted that, when doing translation, the translator should “lay more emphasis on conformity in spirit but not on conformity in form”, which has rooted in Chinese traditional artistic proposition and advanced the translation theory to a new stage. The concept of “conformity in spirit” refers to the reproduction of the spirit and the flavor of the source language in the target language. To some degree, Fu Leis combined aesthetic theory with translation is a further development and complement of Yan Fus triple principle. In the 1960s, Qian Zhongshu borrowed a Buddhist term “sublimation”(化境) ,the so far highest criterion for literary translation, to expound his translation theory. He explained the idea of “sub