从视域融合角度看中国古典诗词英译中的意象传递以许渊冲之翻译为例

ASTUDYONTH匣IMAGETRANSFEROFTRANSLATINGCH卫她SECLASSICALPOETRYFROMTH吧PERSPECTIVE0FFUSIoN0FHORIZON——ACASESTUDYOFXUYUANCHONG’SVERSl0Nby胁ShanUndertheSupervisionofProfessorLi—QingmingAThesisSubmittedtotheGraduateSchoolofXi’anUniversityofTechnology

inPartialFulfillmentoftheRequirementsfortheDegreeofMasterofArtsXi’an，China2013独创性声明本人所呈交的学位论文是在导师指导下进行的研究工作及取得的成果。尽我所知，除特别加以标注的地方外，论文中不包含其他人的研究成果。与我一同工作的同志对本文的研究工作和成果的任何贡献均已在论文中作了明确的说明并已致谢。本论文及其相关资料若有不实之处，由本人承担一切相关责任。论文作者签名： 宣整2。。2年≥月≥。日学位论文使用授权本人作为学位论文作者了解并愿意遵守学校有关保留、使用学位论文的规定，即：在导师指导下创作完成的学位论文的知识产权归西安理工大学所有，本人今后在使用或发表该论文涉及的研究内容时，会注明西安理工大学。西安理工大学拥有学位论文的如下使用权，包括：学校可以保存学位论文；可以采用影印、缩印或其他复制手段保存论文；可以查阅或借阅。本人授权西安理工大学对学位论文全部内容编入公开的数据库进行检索。本学位论文全部或部分内容的公布(包括刊登)授权西安理工大学研究生学院办理。经过学校保密办公室确定密级的涉密学位论文，按照相关保密规定执行；需要进行技术保密的学位论文，按照《西安理工大学学位论文技术保密申请表》内容进行保密(附《西安理工大学学位论文技术保密申请表》)。

保密的学位论文在解密后，适用本授权。论文作者签名： 习够一导师签名{三至瞄年王月≥。日

摘要论文题目：从视域融合角度看中国古典诗词英译中的意象传递——以许渊冲之翻译为例学科名称：外国语言学及应用语言学研究生：毋杉指导教师：李庆明教授摘要

签名：壹整签名酲差圣一“阐释学”一词最早应用于希腊语之中，早期阐释学的基础就是对神旨的翻译、说明和阐释。19世纪，德国宗教哲学家施莱尔马赫对各个学科领域的阐释学思想进行了综合，形成了具有认识论色彩和普遍方法论特征的一般阐释学。19世纪后期，德国生命哲学家狄尔泰从经验、历史与人生的关系入手，对阐释学研究进行了推进。20世纪的德国哲学大师海德格尔和伽达默尔使阐释学走出认识论局限，将古典阐释学发展为系统全面的现代阐释学。伽达默尔的巨著《真理与方法》奠定了阐释学在当代哲学中的重要地位。现代阐释学不仅给二战以来的西方哲学带来生机与活力，尤其对文学理论研究产生了深厚的影响。作为一门关于理解和解释的科学，阐释学与翻译在本质上存在联系和共鸣。近年来，阐释学的哲学思想为翻译实践提供了新的理论动力和研究视野。中国古典诗词翻译的历史可以追溯到16世纪。丰富玄妙的意象和耐人寻味的意境是中国古典诗词的灵魂，也是翻译实践的重点和难点。诗词意象翻译是中外的翻译家和学者探究是热点话题，许渊冲作为中国当代翻译届翘楚，结合中西文化，探索翻译理论，创作出大量优质的翻译作品，为中国古典诗词的传播贡献了自己的力量。本文从阐释学的角度出发，回顾了阐释学的发展脉络，着重介绍了阐释学中的核心理论“视域融合”，并探讨了视域融合这一哲学概念和翻译的内在联系。文章进而运用具体实例分析了诗词意象的种类和特征，同时对许渊冲先生的生平和翻译思想作一介绍。本文的创新点在于将阐释学“视域融合”理论运用于诗词意象翻译之中，一方面从诗词的情感、内容和形式方面分析视域融合理论在消除语际间的异质文化方面发挥的作用，另一方面讨论了视域融合理论在满足读者审美取向和思维模式方面采用的策略。同时作者尝试对阐释学和翻译的结合提出了建议。关键词：阐释学；视域融合；意象；诗词翻译；许渊冲

西安理工大学硕士学位论文basisfortranslation

ABSTRACTTitle：ASTUDYONTHEIMAGETRANSFEROFTRANSLATINGCHINESECLASSICALPOETRYFROMTHEPERSPECTlVEOFFUSIONOFHORIZON——ACASESTUDYOFXUYUANCHONG’SVERSlONMajor：ForeignLinguisticsandAppliedLinguisticsName：ShanWUSignature：绁坚墨b蚣Supervisor：PrOf．QingmingLESignatureAbstract‘‘Hermeneutics’’wasfirstusedinGreeceandthemeaningof“hermeneutics”isdeclaration．interpretationorexplanationaboutthewillofGod．Inthe19mcentury，GermanreligiousphilosopherSchleiermacherstartedtocarryoutacomprehensivestudyonhermeneuticsthoughtsinallfieldsandformedageneralhermeneuticswiththecharacteristicsofepistemologyandmethodology．Inthelate19‘“century,WilelmDiltheyproposedthedevelopmentofhermeneuticsfromtherelationshipbetweenexperiencehistoryandhumanlife．Inthe20“1century,MartinHeideggerandHansGeorgGadamerturnedclassicalhermeneuticsintoasystemicandcomprehensivetheorywhichwecall“modemhermeneutics”．Gad锄er’smasterpieceTruthandMethodisknownasthemarkofmodemhermeneutics．Modemhermeneuticsnotonlybringsthevitalityandvigorforwesternphilosophy,butalsoinfluencestheliterarystudies．Asascienceoftheunderstandingandinterpretationofmeaning，

hermeneuticshasrelationshipandresonancewithtranslation．Inrecentyears，thephilosophicalthoughtsofhermeneuticshaveprovidedanewperspectiveandtheoreticalpractice．ThetranslationhistoryofChineseclassicalpoetryCanbetracedbacktothe16tIlcentury．

ImageisthesoulofChineseclassicalpoetry，whichisalsothekeyanddifficultyinthetranslationpractice．Theimagesintranslationarehottopicforscholarshomeandabroad．AsanoutstandingrepresentativeofcontemporaryChinesetranslators，XuYuanchonghascombinedChineseandWesternculturesforexploringtranslationtheories，createdalargenumberoftranslationworksofclassicalChinesepoetry，andmadegreatcontributionstotheextensionofChineseliteraturebeyondnationalboundaries．Thisthesisfromtheperspectiveofhermeneutics．reviewsthedevelopmentofhermeneutics，introducesthecoretheory～“fusionofhorizon，，in

iii

西安理工大学硕士学位论文hermeneuticsanddiscussestherelationshipbetweenfusionofhorizonandtranslation．Furthermore，theauthoranalyzesthecategoriesandfeaturesofChineseclassicalpoetryimageand

discussesXuYuanchong’Slifeexperiencesandhistranslationtheory。功einnovationofthisthesisisthattheauthormakesanintensivestudyofhowhermeneuticsisappliedtoimagetranslation．Ontheonehand，theauthorsanalyzestheroleoffusionofhorizonintheeliminationoftheculturedifferencefromtheaspectsoffusionofemotion，fusionofcontent，andfusionofform．Ontheotherhand，sheexploresthetranslationstrategiesfromtheperspectiveoffusionofhorizonadoptedincateringtothereaders’aestheticsvalueandthinkingmodel．Inaddition，theauthorofferssomesuggestionsandforthecombinationoftranslationandhermeneutics．KeyWords：hermeneutics；fusionofhorizon；image；classicalpoetry；XuYuanchong

CONTENTSCoNTENTSCHAPTERoNEINTRoDUCTIoN。11．2SignificanceoftheResearch．．．．．．．．．．．．．．．．．．2CHA_PTERTWOANOVERⅥEWOFTHEIMAGESINCHINESECLASSICALPOETRYANDXUYUANCHoNG’STRANSLATIoN。5ofImageand2．1．1StudiesofImageatAbroad．52．1．2StudiesoflmageatHome．．．．．．．．．．．．．．．62．2CategoriesofImages．．82．3FeaturesofImageinClassical2．4TheIntroductionofXuYuanchongandHisTranslationTheories．132．4．1XuYuanchon’SPersonalExperience13

2．4．2XuYuanchong’STranslationTheories．13CHAPTERTHREERELATIONSHIPBETWEENFUSIONoFHoRIZONANDTRANSLATIoN。153．1AnIntroductiontotheDevelopmentofHermeneutics15：；．2HermeneuticsViewsonTranslation．．．．．．．。．．．．．。．．．．．17：；．3FusionofHorizons．193．3．1TheConceptofHorizon．19：；．：；．2FusionofHorizon．．．．．．．．．．．．．．．．．．．．203．3．3TheFusionofHorizonandTranslation．．21CHAPTERFOURAPPLICATIONOFFUSIONOFHOIUZONINTOCLASSICALPOETRYTRANSLATION234．1ThreeFusionstoMeetReadersAestheticsValueandThinkingModel．234．1．1FusionofEmotion．234．1．2FusionofContent．．264．1．3FusionofForm28

4。2ThreeWaystoEliminatetheCulturalDifferenceinLanguage．．29

西安理工大学硕士学位论文4．2．1ChangingtheImages294．2．2AddingtheImages32

4．2．3DeletingtheImages．344．3DifficultyinTranslatingImagery．．35CHAPTERFIVECONLUSION375．1MainFindingsandInnovations．·375．2LimitationoftheStudies．．．385．3SuggestionsforFurtherStudies．．38BIBLOGRAPHY．．41ACKNOWLEDGEMENTS．．．．．．．．．．．．45ACHIEVEMENT．47

CHAPTERONEINTRODUCTIONCHAPTERoNEINTRODUCTIoN1．1BackgroundoftheResearchTranslatingactivityisakindofcommunicationwhichreferstotheprocessofunderstandingandexpressing．Theessenceoftranslationisinterpretation．Asanimportantschoolinmodemphilosophy,hermeneuticsnotonlyhelpsUStostudythetranslationfromaperspectiveofscientificandphilosophicthoughts，butalsoprovidesnewmethodsandnewideasforthetheoryandpracticeintranslation．Theintrinsicqualityofhermeneuticsistoconveymessageandavoidmisunderstanding．Asweknow,themainpurposeoftranslationistoreproducingthemeaningoforiginaltext．Inthisway,translationactivitywithitscharacterofcomprehensionandinterpretationisanotherappropriateinterpretationofhermeneuticstheory

Thestudyofhermeneuticsinwestemcountrieshasalonghistory．Forinstance，“hermeneutics’’wasfirstusedinGreeceinthe17mcenturyandthemeaningof“hermeneutics”isdeclaration，interpretationorexplanation．Inthe19也centuryWestemcountriessoughtfora“generalhermeneutics’’andstartedtoapplytherelativetheoriesorprinciplesofphilosophicalhermeneuticstothetranslationresearch．GermanreligiousphilosopherSchleiermacherputstudyofhermeneuticstoaneworientation，whichwasrelatedtoasystem-theoryof

understandingandexplanation．Inthe20thcentury，theGermanphilosopherMartinHeidegger

andhisstudentGadamerexpandedhermeneuticstothecompletetheoryof‘‘WesternModemhermeneutics”．AlthoughthestartingpointofHermeneuticsstudydidnotfocusontranslation，theanalysisandinterpretationaboutliteraryworksandtheunderstandingoftranslationhavesomethingincommon．Therefore，modemhermeneuticsprovidesomeenlightenmentfortranslationstudies．Inthe1980s，ashermeneuticsandacceptanceaestheticswentintoChina,thepointofview“translationisinterpretation'’putforwardbyEvans—Prichardhasbeenacceptedbymanytranslationscholarsinourcountry．HongHandingtranslatesthebookofTruthandMethodfromGadamerwhichadvancesthespreadofhermeneutics．Manyscholarsprovidetheirpersonalopinionsabouthermeneuticsandtranslation．AccordingtoZhangYonghe，“anytranslationmustinvolvefusionofhorizon，whichistheabsolutenatureoftranslation”withsuchimportantopinionabouttherelationshipbetweentranslationandhermeneutics．(ZhangYonghe，2006)．ZhuJianpingsaidthat“Inredefining‘translating’fromtheperspectiveofphilosophicalhermeneutics，weshouldbe

descriptive，dynamicandopen，andtaketranslators’andculturalfactorsintoconsideration”．(ZhuJianping，2006)

西安理工大学硕士学位论文Inrecentyears，manyscholarsinChinapaymuchattentiontoapplyinghermeneuticstheorytotranslationactivity．Accordingtothehermeneutics，wecouldfindsomevitaltheories，suchasfusionofhorizon，effectivehistoryandfore-understanding．Atthesametime，westresstheimportanceoftranslatoragain．Aboveall，hermeneuticshelpsUStosolvetranslationproblemsfromanewangle．InChina,thetheoriesofhermeneuticsarestillarelativelynewstudyfortranslation。Inaword，therehavenotbeenSOmanyremarkableachievementsinourcountry，especiallythehermeneuticsprinciplestranslationstudiesonclassicalpoetry．However，accordingtotheseopinionsfromthescholarsjustmentioned，weCanfindthathermeneuticsprovidesUSwithatheoreticalbasisforunderstanding．AmericanpoetRobertFrostsaidthat“Poetryiswhatgetslostintranslation”，whichindicatesthelossofbeauty．Butthescholarsathomeandabroadstillexplorethetranslationstrategiestopresentthebeautyofpoetry．ThehistoryoftranslatingChineseclassicalpoetryintoEnglishCanbetracedbacktothe16thcentury，S．Jenyns，whowasanEnglishsinologistandpoetinfluencingthefieldoftranslatingChinesepoems．AndthetranslatorsCanbeclassifiedintodifferentschoolsaccordingtotheirdifferenttranslatingclaimsandmethods．Asweknow,therearealotofremarkabletranslatorswhomaketheclassicalChinesepoetrybeacceptedandtreasuredbypeoplearoundtheworld．AndthereisnodoubtthatEzraPoundandXuYuanchongarethemostprominentrepresentativesofthem．

1．2SignificanceoftheResearchChinaisakingdomofpoetryandclassicalpoetryisthemagnificentgemofChinesepeople．Fromthe“BookofSongs”toTangPoemsandSongLyrics，forthousandsofyears，poetrywithitsbeautifulrhythmandelegantpatternprovidedahugestageforallkindsofpeopletoexpresstheirtruefeelings．ThereisnodoubtthattheTangPoemsandSongLyricsmarkedtheluxuriantpeakoftheChinesepoetry．ThemostdistinctivefeaturesofChineseclassicalpoetryaretheirrichimagesandwonderfulideogramswhicharedifferentfromwesternpoetry．Imageryshouldberegardedthesouloftheclassicalpoetryanditsfantasticmeaningsshouldtakereadersinfiniteimaginary．Readersgetatpoet’Sexpressionbygraspingtheimages．Theimagesintranslationarenotonlythehottopicfordiscussionbutalsothekey

anddifficultyinthetranslationofChineseclassicalpoetry．That’Swhythescholarsandexperts

athomesandabroadcommittothestudyoftranslatingimagestomakethetargetlanguage

readershavethesimilarartisticenjoymentasthesourcelanguagereadersdo．Itisnecessarytocarryoutaresearchonthisfield．2

TherearevarioussystematicstudiesinChineseclassicalpoetrytranslationstillneedtoexplorenewtheoriesandscientificmethods．Modemhermeneutics，asarelativelynewfield，providessomeenlightenmentstoliterarystudy，andalsobringssomeinspirationstotmagetranslation．Hermeneuticsaimsatprovidingtheoreticalbasisandreferenceinthemeaningofmethodologyforliterarystudies，especiallytheliterarytranslation．Ourculturalenvironmentis

di圩erentf-romtheancientculture，andliterarystudiesneedanopenandbroadspacetoforma

newmode．whichlaysanemphasisontheimportanceoftranslation．Inthehistoricalcontext，thedevelopmentofliteraturedependsonadialoguebetweenthehistoricaltextandtheunderstandingsubject，whichisrealizedbythefusionofhorizonaccordingtothepasthorizon

arld therealistichorizon．Intheviewofhermeneutics，theconceptof“fusion”、。-fore．understanding，，and‘‘effectivehistory’’areallrelatedtoliterarystudies．Modernhenneneutics explainstheproblemsinthedevelopmentofliteraturewithaprofound

philosophythoughtandachievestheinterdisciplinaryresearchin。depth．Bvexaminingtheessenceofhermeneutics，wemayfindthattherearesomeinherent

correlationsintmslationandhermeneutics，especiallythekeyconceptsfromhermeneutics

couldshedalightontranslationactivity．ThecurrentstudyiSexpectedtoprovidesometranslationthoughtsandmethods，andtoinquireintohowthetranslatorcouldpresenttheaeSmeticsfeelingstotargetreaders．Moreover，thephilosophicalhermeneuticscouldbroadent11estudvfieldfromanewangle．Thisthesiswilltakeanumberoftranslationworksofclassical

imagesbyXuYuanchongforreference．Theauthorattemptstoanalyzetheexampleswiththetheoryoffusionofhorizonandstudytherelationshipbetweentranslationandhermeneutics·It

ishopedthattheresearchcouldcomeupwithcreativelyideasonimagetranslationandarouse

moreinterestsfromlanguagelearnersinclassicalpoetrytranslation．1．3StructureoftheThesisThisthesisispresentedinfivechapters．ChapterOneisabriefintroductiontothewholethesis．which1eadstothecontextincludingthestudypurposeandstudybackground，the

si蛐ificanceofthestudyandthestructureofthethesis．Chaptertwosetsforththeconceptofclassicalimagesanditsdifficultyintranslation．Itwillintroducetheclassificationofimagesanddiscusstheembodiedpoetryimages．ThispartalsointroducesXuYuanchongandhis

works．inwhichtheexperienceofhislifeandhisimportanttheoriesaredealtwith．ChapterT11reeisaliteraturereview．Inthispart，theauthorfocusesonthetheoreticanalysis·IheaimistointroducethebaSictheoriesofhermeneuticsandanalyzetherelationshipbetweenhermeneuticsandtranslation．Themainstudyobjectisfocusedonfusionofhorizonanditsapplicationtotranslation．ChapterFour，thecoreofwholethesis，makesanintensivestudyof

西安理工大学硕士学位论文howhermeneuticsisappliedtoimagetranslation．Andthefusionofhorizonwillplayavitalroleincateringtothereaders’aesthetics．valueandthinkingmodelfromthefollowingaspects．：fusionofemotion，fusionofcontent，andfusionofformthethreewaystoeliminatetheculturedifferenceinlanguage．ChapterFive，theconcludingpart，discussesthemajorfindings

andinnovations，limitationsaboutimagetranslationandgivessuggestionsforthefurtherpoetrytranslationstudies．4A．Finke(1989：41)heldthepointthatimageis“functionallyequivalenttoandluxuriant

CHAPTERTWOANOVERVIEWOFTHEIMAGESINCHINESECLASSICALPOETRYANDXUYUANCHONG’STRANSLATIONCHAPTERTWOANOVERVIEWOFTHEIMAGESINCHINESECLASSICALPOETRYANDXUYUANCHONG’STRANSLATIONChineseclassicalpoetryisthemostshininggemofChineseliterature．Astheessenceof

language，poetryisrichinlanguagefeaturesandemotionalexpressions，anditthusmakesan

idealsubjectoftranslationstudy．ImagecanbeseenthesoulofChineseclassicalpoetry,

which mereader’Sresonanceaccordingtotheprofoundimplicationimagination．Becauseofthevitalroleofimage，agreatmanyofscholarsandtranslatorsall

a1叼undtheworiddevotethemselvestothestudyofimagetranslation，whichcallfindoutthemostappropriatetranslationstrategiestoexpresstheuniquecharmofChineseclassical

Doetry．Startingfromthischapter,wewillmakeanoverviewoftheimageanddiscussXu

Yuanchong’Stranslation。2．1StudiesofImageatHomeandAbroadInthischapter,wefocusonthetheoriesofimage，whichistheessenceofChineseclassicalpoetry．ImageisaveryimportanttopicintheChineseandwesternresearchfield．Itisrelatedtotheaestheticsmentalmechanism，andcombinedwithassociationandperception．Imageisakindofmentalrepresentationaccordingtomemoryandimagination，andiscausedbyanysenseorgans．ImageCanbeanimpressionoranidea．Wemayalsodescribeimage

withadjective．Oneofthefamousfiguresofimagism，EzraPounddefinesimageasfollows“Imagepresentsanintellectualandemotionalcomplexinaninstantoftime”(HouYan，2007：10)．Forthisconceptofimage，therearealotofdiscussionandresearchinChinaandinthewest．2．1．1StudiesoflmageatAbroadInChina,Thereisalonghistoryofimagerystudy．Forthewest，scholarsintheearly20thcenturyplacedagreatemphasisonthenotionofimagery,whichisarelativelynewtopic

forwestemliterarycircles．In 1913．AmericanpoetEzraPound(1885-1973)definedtheconceptof“image”as

“imageisanintellectualandemotionalcomplexinaninstantoftime，thekeypointbeingthe

compressionofintellectualandemotionalexperienceintoaninstant'’(YangYang，2002：52)．RonaldDerceptionontheextentthatsimilarmechanismsinthevisualsystemaleactivatedwhenobjectsoreventsareimaginedaswhenthesameobjectsoreventareactuallyofthedweUon

perceived”(WangYu，2008：15)．Buthisopimonstillhassomelimitationbecauseoftheignoranceoftheothersensesasimagesource．Lakoff(1987：444)stressesthatitisimportanttodistinguishtheimageandperCeption，andthattheformerhasmoredetailsandthelateristhebasisofimage．

Palmerconstructedtheculturallinguisticsandusedtheconceptof‘‘image，，asthecoreconceptofhistheory．Fromhisofverbals舯b01smerelya11dperspective，languageisaplay

aJlverbalsymbolsarebasedonimage．Imagenotonlyincludesv耐ouspictureⅥ恤chare

presented mind，butalsoreferstoallkindsofexperiencesfromourvision，hearing，taste，smellandkinesthetic．Forexample，thesmelloflemon，themusicofBach．andthewalkingonthebeachareallexperienceindailylife．Withtheseexperiencea11d佗eling，wecouldhavetheabilityoftalkingandthinking．TowardaTheoryofCultureLinguistic，Palmerp0Intedthat“imageryiswhatweseeinourmind’seye’’and“ourimaginationsexpenencesobtainedthroughallthesensorymodes，andthenwetalk”(Palmer：2001．491．ItcO皿ectslanguagetightly,because“languageevokesimageryandrequiresimaginationforitsinterpretation”(Palmer：2001，49)．2．1．2StudiesofImageatHomeThisconceptinChinaalsohasbeenwidelydiscussed．AncientChinadidnothavesystematicImagetheory,andthisopinionfirstlyoriginatedinChinaasanaestheticcategory．Thetheory imagewhichreferredtomanyaestheticsightswaSfirstfoulldinaphilosophicalwork．一B00kofChange((易经))．Wefoundsuchimportantconceptinthisbook，suchas“establishinganimagetoexhaustone’smeaning”(立象尽意)，“wordsdon'texhaustmeaning”(言不尽意)andSOon．ItshowedthatChinesepeoplebegantodiscusstherelation

锄ong‘'theconceptinthemind”(vi)and“thefeelingofimages”(Xiang)．Andthe“xiang，，

meaIls“object’’and“images”，itcarriesthe“yi’’whichmeans“significant，，and，，thought”．

IntheThreeKingdomsperiod，Wangbi(t弼)，whoWasafamousphilosopher’f证therdiscussedtherelationshipbetween“yi’’and“xiang”．Heholdsthatc'yi，，aIld“xiallg，，ares印删efromeachother．BecauseinhisbookElucidationoftheImage《明象》，hepointed

outthat“Theimageiswhatbringsoutconcept；languageiswhatclarifiestheimage．NothiIlg

canbeequal晰thimageingivingthefullnessofconcept；nothingCallbeequalwithlanguagemgavmgthefullnessofimage．Languageisbornoftheimage，thusweseekin1anguageinordertoobservetheimage．Imageisbornoftheconcept，thusweseekinimagetoperceiveconcept·Conceptisfullygiveninimage；imageisovertinlanguage’’(夫象者，出意者也；言者，明象者也。言意莫若象，尽象莫若言。言生于象，故可寻言以观象：象生于意，故可寻象以观意。意以象尽，象以意著)，，(闰超：2007)．6writesacomposition，hepointsoutthat“imageisambiguityandoriginality．Contemporaryscholarspaymoreattentionto

CHAPTERTWOANOVERVIEWOFTHEIMAGESINCH仆汜SECLASSICALPOETRYANDXUYUANCHONG’STRANSLATIONForhundredyearslatter,LiuXie(文lJ勰，465-520)officiallydevelopedtheideaabout“yixiang”seriously．(窥意象而运斤)InhisbookCarvingaDragonwithLiteraryMind《文心

雕龙》，hediscussedtheideaabout“image”andtheprocessofcreatingimages．Hestudiedtherelationshipamong‘‘yi’’‘‘xiang’’and‘‘yan’’fromtheperspectiveofphilosophy,andconcludedthedialecticalrelationshipandthinkingmechanismofimageconstruction．LiuXiestressedtheimportanceof“yan”，namely‘'whatissaid”．Meanwhile，heputforwardthat‘‘xiang'’isthebasisof‘‘yi’’．IntheSalTletime，heput‘‘yi’’asthecorespiritof‘‘xiang'’．TheimagecombinedwiththesenualobjectandabstractconceptwhichWasproposedbyLiuXiewasregardedthetheoryofimageofficially,evenprovidingthesystematictheoryinliterature．Hethoughtthatasapoet，heshouldtryhisbesttocreatetheinnovativeimages．Accordingtohisexplanation，imageisthevisualizitionofthecompositionofliteraryworks，anditistheperceptionofthephysicalworldinthepoet’Smentaleyes．Whathestressesisthedynamic

participationofthewriter’Semotionsandfeelingsintheprocessofartisticcreation，thusachievingtheharmoniousintegrationof“Yi“and‘'xiang”．namely,thesynthesisofobjectiveandsubjectiveworlds(ChenLiangyun，1991：62·63)

Imageisartisticimaginationwhichappearedinthemindwhenwriting．LiuXiefirstput

theopinionofimageintothefieldofartisticconceptionandstressedtheimportanceofimageonplanningthestructure．IntheMingDynasty,HuYinglin，afamousdocumentalist，heldthat“theessenceofclassicalpoetryliesinthearrangementofimagery(古诗之妙，专求意象)”(ZhuHui，1996：3)

AnotherscholarcalledWangFuzhi(王夫之)intheMingDynastyalsocompletedthetheoryofimage．Heanalyzedsomefeaturesofaestheticimagery,suchasintegrity,authenticity,thedefinitionofimage，ZhuGuangqian

akindofpicturethatthecertainobjectfixedonthemind，butconceptembodiestheintercommunityofthesamekindobjects．Forexample，“tree”couldmakepeoplethinkoftheimageofcertaintrees，itisthe“image’’ofatree．Andtheconceptof“tree”alsocouldbringthegeneralideaofplants．(ZhuGuangqian，1988)

AiQingsaidthat“imageisafeelingwhichhasbeenreified．’’YuGuangzhongdefinedthe“image’’as“itisoneofthebasicconditionforpoetry”．Itishardtobelievepoemwithoutimagejustlikeapoemwithoutrhyme．TheCO-calledimageisfeelingswhichbelongtothepoetandneedreaderstounderstand．Inclassicalpoetry,creationisveryattachedtotheexquisiteportray．Thelyricofpoetisneithertheplainexpressionnorthedirectrepresentation，butembodiestherichconnotation．7figureimage，event

西安理工大学硕士学位论文Writingscenicpoemistosharetheemotionbutthepoemofdescriptionofobjectiveistoexpressthethinkingordream．Imageisafusionofsubjectivereasonandobjectiveimage．Itistheunionoftheexternalobjectandinternalemotionsofthepoet，andtheoutcomeofinteractionsbetweentheaestheticobjectandtheaestheticsubject．Aboveall，werealizetheimportanceofimageinpoetry,particularlytheChineseclassicalpoetry．Imageisacombinationofsubjectiveemotionsandobjectivefigures．Theroleofimageinexpressionistocoveytheliterarymeaningandtheaestheticfeeling．Ina

word，imageisrelatedtotheaestheticmentalmechanism，andiscombinedwithassociation

andperception．Throughtheartprocessofthinkingandfeelingwecanachievetheimage．

Andtheeffectofimageisdifferentfromthatofthegeneral“thinking’’or“feeling”．2．2CategoriesofImagesAccordingtoLiMiqing’Sresearch，imageisalwaysfullofartisticchanning．Generallyspeaking，imagecallbedividedintofourtypes：(1)FigureimageFigureimagehasobvious“shape’’and“appearance”normally，SOwecalledthem

“image’’or“figureimage”inwriting．Figureisthecoreofartimagebecauseofitspowerful“capability”．ThiskindofcapabilityincludesactionideaappearanceandSOonwhicharefull

ofvitality．Hence，theauthorstrytheirbesttocreaterichfigureimages．Forexample，LinDaiyu．JiaBaoyu，Hamletallbelongtothistype．(2)SceneimageSceneimagehascolorful“situation'’and“scenery”．Sotheauthorsusuallyborrowthemtoinvokethespiritoffigureimage．Sceneimagecanplayanessentialroleinstressingthespecificemotionandspiritofcharacterinworks．Inclassicalpoetry，itiseasytofindsomesceneimageswhichconveypoet’Sfeelings．(3)EventimageEventimagecanbemoreorlessfortlleworks．Itcouldbeasmallstory，aplotandevenahugeevent；thestyleofeventimagemaybea“episode’’or“montage”．“oathofthepeach

garden’’and“TheFlowers’SFuneral”areeventimage．(4)Syntheticimage

Syntheticimage，asthenameisimplied，isacollectionofotherkindsofimages，suchasimage，scenicimageandSOon．Thesedifferentimagesmakeupanimagegrouporanimagecluster．Forexample，‘‘yulinling’’ofLiuYongcreateallimageworldwllichincludesthemoonandwind，thewineandwillow，theloverandtheauthor．AlltheimageSaccordingtothecollectionofauthorwillleadtoluxuryandelegantartisticeffects8

CHAPTERTWOANOVERVIEWOFTHEIⅣ【AGESINCHINESECLASSICALPOE