英语专业毕业论文翻译类论文.

1、毕业论文（设计）Title: The Application of the Iconicity to the Translation ofChinese Poetry题 目 : 象似性在中国诗歌翻译中的应用学生姓名孔令霞学号BC09150201指导教师祁晓菲助教年级2009 级英语本科（翻译方向）二班专业英语系别外国语言文学系黑龙江外国语学院本科生毕业论文（设计）任务书姓名孔令霞学号BC09150201专业班级英语本科翻译二班毕业论文（设计）题目：象似性在中国诗歌翻译中的应用毕业论文（设计）的立题依据在导师的帮助下自主命题。主要内容及要求1，综合运用的知识能力。2，研究方案的设计（或论证）能力

2、。3，研究方法和手段的运用能力。 4，查阅文献资料能力。进度安排10月 20日选题10月 20日10月 30 日接受指导老师的指导1月6日1月 20日拟定论文大纲1月 21日2月 28日搜集、查阅、整理相关资料3月1日3月 20日论文开题3月 21日4月 20日初稿审定4月 21日4月 30日第一次修改5月1日5月 15日第一次审定5月 15日 5月 30日第二次修改5月30 日6 月 5日定 稿6月 5日6月15日论文评阅小组评审论文（设计）6月 10日毕业论文（设计）答辩学生签字：指导教师签字：年月日摘要索绪尔提出的语言符号任意性，近些年不断受到质疑，来自语言象似性的研究是最大的挑战。语言

3、象似性理论是针对语言任意性理论提出来的，并在不断发展。象似性是当今认知语言学研究中的一个重要课题，是指语言符号的能指与所指之间的自然联系。本文以中国诗歌英译为例，探讨象似性在中国诗歌翻译中的应用，从以下几个部分阐述：（1）象似性的发展；（ 2）象似性的定义及分类；（ 3）中国诗歌翻译的标准；（ 4）象似性在中国诗歌翻译中的应用，主要从以下几个方面论述：声音象似、顺序象似、数量象似、对称象似方面。通过以上几个方面的探究，探讨了中国诗歌翻译中象似性原则的重大作用，在诗歌翻译过程中有助于得到“形神皆似”和“意美、音美、形美”的理想翻译效果。关键词： 象似性；诗歌；翻译AbstractThe arbi

4、trariness theory of language signs proposed by Saussure is severely challenged by the study of language iconicity in recent years. The theory of iconicity is put forward in contrast to that of arbitrariness and has been developing gradually. Iconicity, which is an important subject in the research o

5、f cognitive linguistics, refers to a natural resemblance or analogy between the form of a sign and the object or concept. This thesis mainly discusses the application of the iconicity to the translation of Chinese poetry. The paper is better described from the following parts: (1) The development of

6、 the iconicity; (2) The definition and classification of the iconicity; (3) The standards of the translation to Chinese poetry; (4) The application of the iconicity to the translation of Chinese poetry, mainly discussed from the following aspects: sound iconicity, order iconicity, quantity iconicity

7、, and symmetrical iconicity. Through in-depth discussion of the above aspects, this paper could come to the conclusion that the iconicity is very important in the translation of poetry. It is conductive to reach theideal effect of “ the similarity of form and spirit three beauties”and “.”the Key wor

8、ds: the iconicity; poetry; translation2013Contents.iAbstract.iiChapter 1 Introduction.1Chapter 2 An Overview of the Iconicity.32.1 The Iconicity and the Arbitrariness.32.2 Definition of the Iconicity.42.3 Classification of the Iconicity5Chapter 3 The Standards of the Translation to Chinese Poetry63.

9、1 The Similarity of Form and Spirit.63.2 The Three Beauties.73.3 The Principle of the Iconicity7Chapter 4 The Application of the Iconicity to the Translation of Chinese Poetry.84.1 The Application of the Iconicity to the Translation of Chinese Poetry on thePhonological Level.94.1.1 Sound Iconicity a

10、nd its Translation on Chinese Poetry94.2 The Application of the Iconicity to the Translation of Chinese Poetry on theTextual Level.94.2.1 Order Iconicity and Its Translation on Chinese Poetry94.2.2 Quantity Iconicity and Its Translation on Chinese Poetry124.2.3 Symmetrical Iconicity and Its Translat

11、ion on Chinese Poetry15Chapter 5 Conclusion17Bibliography.18Acknowledgements.19The Application of the Iconicity to the Translation of ChinesePoetryChapter 1 IntroductionThe ancients left a lot of poetry in China which reflects the broad and profoundChinese literature. With the development of Chinese

12、 literature, more and more scholars have been widely studied about the translation of Chinese poetry. Among the standards of the translation to Chinese poetry, the iconicity has aroused more and more concern.The theory of iconicity was first proposed by C.S.Peirce, founder of American practicalism a

13、nd semiotics. Since then this theme has been discussed and studied bymany famous researcheslike Jakobson, Haiman, and so on. Iconicityis one of thehotly-discussed issues at present in the linguistic and semiotic field. The theory oficonicity isa great challenge to “Saussureantheory ofarbitrariness”a

14、nd a forcefulcomplementas well. Iconicity in language falls intothe categoryof cognitivelinguistics, which is regarded as an essential part of cognitive linguistics. Iconicity isnot only a challenge but also a complement to Saussure s arbitrariness of linguistic signThe discussion over arbitrariness

15、 and iconicity is a hot topic in the fieldof languageresearch, which is actually a problem about the relationship of the signifier and the signified. In fact, the study of iconicity has been carried out in recent years, Many philosophers, semioticians and linguists have been concemed with such pheno

16、menon in language for a long time. Iconicity can be found not only in natural language, but also in literary language, especially in poetry, which is said to have the richest presence of iconicity in all literary genres, because poetry allows the most complex and innovative use of language on the ty

17、pographical level(such as special use of fonts and spacing), on the sound level (such as sound symbolism, metre and rhyme), on the morphological and syntactic level (such as changes in regular word order and distancing), and on thetextual level.This thesis attempts to analyze Chinese poetry and its

18、translation from a more integrated and original perspective, an iconic perspective. Much Chinese poetry can be translated from the perspective of iconicity. The iconicity is an important feature of poetry and should be reproduced in its translation. In the application of the principle of iconicity t

19、o the translation of Chinese poetry, it is advisable to grasp the expressive features of iconic discourse in the source version and properly present them in the target version. This article through the following aspects: sound iconicity, order iconicity, quantity iconicity, symmetrical iconicity so

20、as to realize the re-creating in the form as well as in the spirit.Chapter 2 An Overview of the IconicityThe theory of iconicity is regarded as a great challenge to Saussure s arbitraof linguistic sign. The theory of iconicity was first put forward by C.S.Peirce, thefounder of American practicalism

21、and semiotics. According to Peirce and Haimansclassification of iconic signs, this paper gets six subclassesof iconicity: the soundiconicity, the distance iconicity, the order iconicity, the quantity iconicity,the graphiconicity and the symmetry iconicity.2.1 The Iconicity and the ArbitrarinessThe a

22、rbitrariness theory of language signs proposed by Saussure is severely challenged by the study of language iconicity in recent years. The view that thelanguage sign is arbitrary is the core of Saussure s linguiSausticsurethefoundry. the nature of language symbol but he left the link unexplained betw

23、een the signifier and the signified. The theory of iconicity is put forward in contrast to that of arbitrariness and has been developing gradually. Iconicity, which is an important subject in the research of cognitive linguistics, refers to a natural resemblance or analogy between the form of a sign

24、 and the object or concept.Iconicity has been discussed hotly at present in the linguistic and semiotic field. The theory of iconicity is put forward in contrast to that of arbitrariness and has been developing gradually. Meanwhile, it is a forceful complement to Saussure s arbitrariness as well. Ic

25、onicity in language means that the form of the word or sign conveys the meaning of the word or sign. The theory of iconicity is regarded as a great challenge to Saussure s arbitrariness of linguistic sign. The study of iconicity has been carried out in recent years.2.2 Definition of IconicityThe the

26、ory of iconicity was first put forward by C.S.Peirce, the founder of American practicalism and semiotics. Since then this theme has been discussed and studied by many famous researchers like Haiman, Givon, and so on. The following are some of the representative definitions of iconicity.Haiman charac

27、terizes iconicity as a set of “signs whose meaning in some crucial way resembles their form ”. He also claims that “ linguistic forms are frequently the way is because, like diagrams, they resemble the conceptual structures they are intended to convey”. The relationship between form and meaning is t

28、o a considerable extent motivated. Cognitive linguists maintain that linguistic structure is a reflection of cognitive or experiential structure. Newmeyer argues that iconicity “embodies the idea that the form, length, complexity, or interrelationship of elements in a linguistic representation refle

29、cts of communicative strategy that the representation encodes”. Givon claims that any non-arbitrary relation in language qualifies an iconic relation.Therefore, some scholars usually conclude that iconicity is the similarity between the signifier and the signified. Language iconicity refers to the p

30、henomenon of imitation between the sound, meaning, and form of language and what they signify in the real world. From the above-mentioned definitions, this paper can find that there is still no fixed definition of iconicity so far. Although researchershave made many attempts, none of their definitio

31、ns is so perfect as to explain all the phenomena in language, and to some extent, its application is dependent on the subjectivity of the researchers and scholars themselves.2.3 The Classification of the IconicityOutside world is the source of sign's meaning, according to Peirce, signs can be pl

32、aced in to three classes. Peirce identifies three types of signs: icon, index and symbol. The three kinds of signs are different from each other in terms of the degree of arbitrariness. He also further divides icons into three types: images, diagrams and metaphors, which differ from each other accor

33、ding to the similarity between the sign and its objects. In accordance with these he concludes three types of iconicity: imagic iconicity, Diagrammatic iconicity and Metaphorical iconicity.Haiman further develops Peirce stheory and regards diagrammatic iconicity as“a systematic arrangement of signs,

34、 none of which necessarily resembles its referent, but whose relationships to each other mirror the relationships of their referents. ”Haiman further classifies diagrammatic icon into two types: isomorphism and motivation.According to Peirce and Haimans classification of iconic signs, this paper get

35、s six subclasses of iconicity: the sound iconicity, the distance iconicity, the order iconicity, the quantity iconicity, the graph iconicity and the symmetry iconicity. The iconicity can be found on the phonological level, lexical level, syntactic level and textual level. This thesis will analyze th

36、e four iconicity principles of them.Chapter 3 The Standards of the Translation to the Chinese PoetryThere are many standards of the translation to the Chinese poetry, and among themthese three standards are famous“. The similarity of form and spirit ” oryof “ the beaut sense the beauty of sound the

37、beauty of form ”are the ideal standers and goals of translation, but the iconicity is the most important and effective rhetorical device in poetry creation.3.1 The Similarity of Form and SpiritIn the case of literary text, the most optimal state is “ the similarity of form andspirit ”. However, itis

38、very hard to both express the verve of the original texts andrepresent the formofthe originaltexts inthe translation practice. Sometimes, it isimpossible to get the translation effects with“ both form and content integrated” Afor exactly that reason, Mao dun propose spirit likeness s for and“ spirit

39、Fuleisstandmuch more important than form if you”can t have your cake and eat it, you should giveup the “ shape” and leave the. Com“spiritared ”to other literary form, poetry has itsunique features on the sound, word, sentence, text structure of its organization andselection. Poetry emphasized on the

40、 outside world imitation, through mimicking theoutside world of sound, form and structure to realize its stylistic effects.3.2 The Three BeautiesProfessor Xu Yuanchong proposes that “ Three arebeautiesthehighest” standards for poems translation. The “ Three arebautiesthebeauty” of sense, the beauty

41、of sound and the beauty of form. The “ Three beauties ” are an organic whole; none of them can be ignored.Its basic meaning is: Poetry translation in meaning, sound, form structure theseseveral levels, should use the corresponding and appropriate target language to conveyvividly the poetic charm. Th

42、at will give us the beautiful enjoyment of art in vision, feeling and hearing.Professor Xu Yuanchong stressed that you should put your hand to the meaning,sound and rhymes these three aspects to translate poetry successfully. Cognitively, theprinciple of “ threebeauties ”is consistent with the iconi

43、cityof poetry. The “ threebeauties ” and thethe similarity“ of form and spirit ” are consistent.Beauty“of sound”“ beauty of form” correlate“ the similarity of form” ;“ beauty“ofthsensesimilarity of spirit”.”corre3.3 The Principle of the IconicityAs “ the similarity of form and spirit” or“ the beauty

44、 of sense the beauty of sounthe beauty of form” are the ideal standers and goals of translation, but howattendto it.Lu Weizhong thinks people should adopt the viewpoint of iconicity and throughout thetranslation of form especially form of extra meaning to achieve the ideal translationeffect of“ simi

45、larity of form and spirit”Among the types of literature, poetry s iconicity is the mostprominent iconicity. Iconicity is the most important and effective rhetorical device in poetry creation. So, pay attention to recognize and analyze the applying of iconicity technique in the original poems when to

46、 translate the poetry that can be able to achieve the ideal goal of“ similarity of form and spirit” The iconicity now prevails in the literary works, which isa fact can not be negated. From the perspective of sign iconicity, scholars consider iconicity into literature, which reflects the real life i

47、n various ways.Iconicity is ubiquitous in literary language. It is emphasized as one of the constraints in poetic text structure.Chapter 4 The Application of the Iconicity to the Translation ofChinese PoetryThis chapter is about the application of the iconicity to the translation of Chinesepoetry. A

48、ccording to Peirce and Haiman s classification of iconicthis signs,paper gets six subclasses of iconicity: the sound iconicity, the distance iconicity, the order iconicity, the quantity iconicity, the graph iconicity and Symmetry iconicity. The iconicity can be found on the phonological, lexical, Sy

49、ntactic and textual level. This chapter will analyze the four iconicity principles in poetry just from the phonological and textual level with examples.4.1 The Application of the Iconicity to the Translation of ChinesePoetry on the Phonological LevelThis part is about sound iconicity and its transla

50、tion on Chinese poetry. Sound iconicity usually includes onomatopoeia and sound symbolism, which belong to the category of imagic iconicity.4.1.1 Sound Iconicity and Its Translation on Chinese PoetrySound iconicity usually includes onomatopoeia and sound symbolism, which belong to the category of im

51、agic iconicity. The purpose of sound iconicity can not only make the linguistic forms directly or indirectly imitate the sound of the objective world, but reinforce the conveyance of the poetic mood.Now let s come to Li Qingzhao s poem:梧桐更兼细雨,到黄昏 ,点点滴滴。（李清照,声声慢）Lin Yutang s translation of this part

52、is as follows:And the drizzle on the kola nut keeps on droning: Pit-a-pat, pit-a-pat.In the original poem, “pit-a-pat, pit-a-pat”( 点点滴滴 ) imitates the sound in real world. It is the usage of sound iconicity which combines both onomatopoeia and sound symbolism. Actually, it is hard to express the art

53、istic effect in its translation. But the translation skillfully uses the corresponding onomatopoeic intense melancholy. Therefore, this translation version of this poem is successful, for the original sound iconicity is retained and recreated in the English version.4.2 The Application of the Iconici

54、ty to the Translation of ChinesePoetry on the Textual LevelThis part is about the order iconicity, the quantity iconicity, and the symmetrical Iconicity. Iconicity of order means that the order of linguistic form or text structure is a reflection of the conceptual or experiential order the form or t

55、ext structure represents. The quantity of linguistic forms corresponds to the quantity of the referents in the real world or in our concept. The iconicity of symmetry means the information which in concept has the same degree of importance and parallel relationship tends to have symmetrical feature in expression.4.2.1 Order Iconicity and Its Translation on Chinese PoetryIc