摘要
本文通过将郭沫若提出的"风韵译"置于对其诗歌创作论与诗歌翻译论的综合考量下,得出"风韵"即诗歌节奏的结论,进而考察郭沫若的具体译诗,总结出郭沫若翻译原诗节奏的3种手段,即以形近古体对应、以单字对音节和改写原诗节奏,并分析了每种手段的得失.郭沫若对诗歌节奏概念和翻译方法的探索可以为诗歌翻译提供新的视角.
Abstract
By rethinking the concept of fengyun proposed by Guo Moruo under the comprehensive consideration of his theory of poetry creation and poetry translation,this paper draws the conclusion that fengyun means the rhythm of poetry.Focusing on his Chinese translation,it summarizes three means of translating the rhythm of original poems,adopting the form similar to ancient poetry,one Chinese character for one syllable,and creating new rhythm respectively.After the evaluation of the gains and losses of each,a new perspective for poetry translation can be provided after reviewing Guo Moruo's exploration and translation of the rhythm of poetry.
基金项目
教育部哲学社会科学研究重大课题攻关项目(17JZD046)
NETL
NSTL
万方数据