CAJ | 학술논문

“三犬之风”是洛威尔与艾斯珂汉诗译本《松花笺》对李白诗句中“飙”字的译法,此一译法便为“拆字法”,即将单个汉字加以拆解,厘析各组字偏旁的意象特质,进而赋予其以诗性言说.中外学界对《松花笺》的褒贬不一,“拆字法”是纷争之焦点.对“拆字法”的非难,是未曾考量彼时美国诗界向东方寻求创作资源的时代吁求,忽视了西方“语音中心主义”传统的置入.“拆字法”发明出汉诗中某些汉字的诗意潜流,彰显出汉诗的审美空间,但亦会引致一些翻译败笔.
“삼견지풍”시락위이여애사가한시역본《송화전》대리백시구중“표”자적역법,차일역법편위“탁자법”,즉장단개한자가이탁해,전석각조자편방적의상특질,진이부여기이시성언설.중외학계대《송화전》적포폄불일,“탁자법”시분쟁지초점.대“탁자법”적비난,시미증고량피시미국시계향동방심구창작자원적시대우구,홀시료서방“어음중심주의”전통적치입.“탁자법”발명출한시중모사한자적시의잠류,창현출한시적심미공간,단역회인치일사번역패필.
The three dog’s wind as a translation of the character ‘飙’ in Li Po’s poem is a case in point ofcharacter-splitting, which as a technique of translation is adopted in Fir-flower Tablets, but dismissed as verbose byboth English and Chinese critics. The dismissive critique on character-splitting is partial due to the neglect of theAmerican context and western phonocentrism. As a translation device, character-splitting is instrumental in renderingthe poetic meanings of some characters in Chinese poetry, though it does not work for all.