外语与外语教学
外語與外語教學
외어여외어교학
Foreign Languages and Their Teaching
2014年
4期
81~85
,共null页
三向对比 庞德 《胡关饶风沙》 创造性叛逆 意象
三嚮對比 龐德 《鬍關饒風沙》 創造性叛逆 意象
삼향대비 방덕 《호관요풍사》 창조성반역 의상
three-dimensional comparison; Pound; "Lament on the Frontier Guard" ;creative treason image
国内外对庞德《华夏集》的研究多是基于“双向对比”,这种方法把费诺罗萨笔记中的错误误认为庞德的错误,或把庞德的修改当成了误译,无法客观公正地评价庞德的译诗艺术。只有认真对比费诺罗萨笔记、庞德译文和中文原诗,进行“三向对比”,才能客观再现庞德的翻译诗学。本文以《胡关饶风沙》的英译为例,运用叶维廉和钱兆明教授提出的“三向对比”的方法,指出庞德的诗歌翻译是一种创造性叛逆,其中既有对李白原诗的创造性叛逆,也有对费氏笔记的创造性叛逆,同时还有对译语和源语的叛逆,他凭借超凡的洞察力,创造出一个个意象,成功地再现了李白原诗的意境,让原诗的生命之花在西方美丽绽放。
國內外對龐德《華夏集》的研究多是基于“雙嚮對比”,這種方法把費諾囉薩筆記中的錯誤誤認為龐德的錯誤,或把龐德的脩改噹成瞭誤譯,無法客觀公正地評價龐德的譯詩藝術。隻有認真對比費諾囉薩筆記、龐德譯文和中文原詩,進行“三嚮對比”,纔能客觀再現龐德的翻譯詩學。本文以《鬍關饒風沙》的英譯為例,運用葉維廉和錢兆明教授提齣的“三嚮對比”的方法,指齣龐德的詩歌翻譯是一種創造性叛逆,其中既有對李白原詩的創造性叛逆,也有對費氏筆記的創造性叛逆,同時還有對譯語和源語的叛逆,他憑藉超凡的洞察力,創造齣一箇箇意象,成功地再現瞭李白原詩的意境,讓原詩的生命之花在西方美麗綻放。
국내외대방덕《화하집》적연구다시기우“쌍향대비”,저충방법파비낙라살필기중적착오오인위방덕적착오,혹파방덕적수개당성료오역,무법객관공정지평개방덕적역시예술。지유인진대비비낙라살필기、방덕역문화중문원시,진행“삼향대비”,재능객관재현방덕적번역시학。본문이《호관요풍사》적영역위례,운용협유렴화전조명교수제출적“삼향대비”적방법,지출방덕적시가번역시일충창조성반역,기중기유대리백원시적창조성반역,야유대비씨필기적창조성반역,동시환유대역어화원어적반역,타빙차초범적동찰력,창조출일개개의상,성공지재현료리백원시적의경,양원시적생명지화재서방미려탄방。
Studies on Pound's Cathay have been mostly based on a two-way comparison, which either takes Pound's corrections of Fenollosa's errors for mistransla- tions, or mistakes Fenollosa's errors for Pound's. To redress such mistakes we must adopt a three-dimensional ap- proach advocated by Wai-lim Yip and Zhaoming Qian so as to fairly evaluate Pound. Taking Pound's translation of "Lament on the Frontier Guard" as an example, this paper conducts a three-dimensional comparative study of Li Bai's original poem, Pound's translation and Fenollosa's notes. Pound's translation provides a kind of creative treason. He seemingly deviates from Li Bai's original poem, from FenoUosa's notes, and from both the source and target languages. However, with Pound's clairvoyance, his creative treatment in the translation enables him to recreate images and reproduce the artistic conception of Li Bai's poem, thus enabling it to find a beautiful afterlife in the West.