从接受美学的角度谈中国古典诗歌意境美的再现

学校代码：10254 密级： 论文编号：上海海事大學SHANGHAI MARITIME UNIVERSITY硕士学位论文MASTER DISSERTATION 论文题目：从接受美学的角度谈中国古典诗歌意境美的再现学位专业： 外国语言学及应用语言学 作者姓名： 马庆军 指导教师： 韩忠华 教授 完成日期： 二九年五月 On Reproduction of Beauty in Artistic Conception of CCP:from the Perspective of Reception AestheticsByMa QingjunUnder the supervision of Professor Han ZhonghuaA Thesis Submitted to the College of Foreign Language of Shanghai Maritime Universityin Partial Fulfillment of the Requirements for the MA Degree Shanghai Maritime UniversityMay, 2021论文独创性声明本论文是我个人在导师指导下进行的研究工作及取得的研究成果。论文中除了特别加以标注和致谢的地方外，不包含其他人或其他机构已经发表或撰写过的研究成果。其他同志对本研究的启发和 所做出的奉献均已在论文中作了明确的声明并表示了谢意。作者签名：_ 日期：_论文使用授权说明本人同意上海海事大学有关保存、使用学位论文的规定，即：学校有权保存送交论文复印件，允许论文被查阅和借阅；学校可以上网公布论文的全部或局部内容，可以采用影印、缩印或者其它复制手段保存论文。保密的论文在解密后遵守此规定。作者签名：_导师签名：_日期：_摘要中国古典诗歌是中国文学也是世界文学皇冠上的一颗璀璨的明珠。作为人类共同的财富，它应该像天上的明月，让全世界人民“千里共婵娟。王佐良先生在?谈诗人译诗?中认为翻译文学在文化交流中起着重要的作用，把一种文化译介到另一种文化中去注定会产生积极的影响。无疑中国古典诗歌承载着中国的传统文化，这要求我们将魅力无穷的古诗词曲作品转换为魅力无穷的英语译文。然而，翻译界多年以来存在中国古代诗歌“可译与“不可译 的争论。笔者对此进行了研究，认为古诗词是可译的，并有针对性地选择样本进行了验证。中国古典诗歌的作者经常在常人熟视无睹的事物上发现许多美，并表达在自己的诗歌中。因此，古典诗歌中，美无处不在，而其中最重要的是意境美。“意境是我国古代的诗学概念，是我国古代人民以独特的传统思维方式，对文学艺术的特殊审美规律的理论概括。中国传统艺术十分讲究“空白美。古诗词，作为中国古典艺术的精华，同样很讲究“空白。注重“空白是古诗词特殊语言形式的需要。古诗词言简意赅，意蕴深厚。为此效果，古诗词的作者不仅要提炼语言，精选意象，而且还要精心地设置“空白，从而触发“象外之象，余味无穷。 在古诗词曲中设置“空白，符合接受美学的要求。接受美学认为，文学文本具有未定性，呈现出多层面和开放式的图示结构，其文本意义和审美价值只有通过读者的阅读活动才能实现。阅读也是一种创造性的活动，读者受作品的激发，以自己的期待视野与作品进行积极的对话交流最终共同完成对作品的理解和再创造。古诗词作品通过设置具有模糊性和不确定性的“空白，在抒发作者自身独特审美经验的同时，也将一局部形象“创造与再创造的权利和任务交给了“潜在的读者。因此，古诗词曲作者在自己的作品中设置“空白符合读者的“期待视野，也是对“潜在的读者心智的尊重。意境的“空白是古诗词审美本质的表现，表达着中国传统诗学的精神内核。在古诗词英译中展现“空白美，是准确传达作品意境的需要，也是翻译美学的本质要求。由于英汉两种文化的差异，要充分考虑不同文化背景下读者的接受能力，根据意境的需要对“空白处进行适当的变通，使之不会成为永远的“空白。本文从接受美学的角度对中国古典诗词的意境美，其中包括意境的空白美及其在目标文化中的再现进行研究和分析。笔者认为，再现原诗意境美的同时，应该尽量考虑译诗的押韵，但不能因过分追求押韵而损害意境美的传递。另外笔者尝试在具体的翻译策略下进行古典诗歌翻译的实践，文中总共对十二首诗歌给出了自己的译文。本文除去引言和结论局部共分三章：引言局部主要回忆了接受美学的诞生和开展。 第一章主要介绍接受美学的主要内容。 第二章探讨了接受美学理论指导下的中国古典诗歌翻译，其中说明了这种理论对中国古典诗歌翻译的意义及启示，并用一个典型事例加以分析。笔者对中国古典诗歌的可译性进行了研究和分析，认为中国古典诗歌是可译的，并在古诗翻译方面做了大胆的尝试。 第三章分析了中国古典诗歌的意境美，并指出意境中的空白美是古代诗人常用的一种艺术表现手法，符合接受美学中读者的期待视野。笔者提供了可行的翻译方法，并在具体策略指导下进行了大胆的翻译实践，就某些古典诗歌给出了自己的译文。 最后，总结全文,得出结论：中国古典诗歌是可译的；古诗意境美可以在接受美学指导下使用可行的方法在英语中进行再现；在进行英译时，应该根据具体情况对古诗意境美中的“空白进行适当变通，使之不成为永远的“空白。关键词：中国古典诗歌；中国古典诗歌翻译；接受美学；意境美；空白美ABSTRACTClassical Chinese Poetry is a glittery gem of Chinese literature and world literature. As the common wealth of mankind, it is like the bright moon in the sky, throwing the light on every body in the whole world. As a result, every body has the opportunity to enjoy the beauty of this graceful “moonlight. Wang Zuoliang once remarked in his article, on poets translating poems, that translated literature had played an important role in cultural communications. The translation of a cultural treasure into another language is bound to exert a positive impact, which demands us to translate CCP into English, as it carries much Chinese culture. Virtually, controversies on translatability of Classical Chinese Poetry have bedeviled thousands of scholars in West and East for long in translation world. The author does an overview and analysis in the thesis about it and thinks that CCP is translatable. Moreover, the author does bold practice in translating some classical Chinese poems.The poets of classical Chinese poems often found beauties in familiar things which were ignored by people and displayed them in their poems. As a result, beauties can be found here and there, among which the most important is beauty in Artistic conception. Virtually, Artistic conception, a poetic concept in ancient China, was a theoretical summary of special law of aesthetics from the perspective of unique traditional way of thinking. Traditional Chinese art highlights beauty in blankness of artistic conception. As the essence of Chinese traditional art, CCP emphasizes in blankness as well. Out of necessity, blankness was preserved in CCP. Concise and comprehensive, CCP has profound implication. For the desired effect, the poets have to not only make sure that the poetic language is succinct and carefully select the imagery, but also design blankness with awareness, so as to trigger “images beyond images and leave a lasting and pleasant impression on readers. Preserving “blankness is in tune with Reception Aesthetics. According to the theory, there is a certain amount of indeterminacy in any literary text, which is open to all readers, giving them imagination and making it possible for them to shape the various situations in their reading activities. Reception Aesthetics stresses that only in reading activity can indeterminacy be replaced by meaning. Only when the blanks are filled and the indeterminacy is defined through readers perception and experience can the realization of a literary work be obtained. In other words, reading is a kind of creative activity, through which the readers communicate with the authors of the original texts，horizons of expectations in their minds. As a result, the original texts are understood, recreation completed. The poets preserved vague and indeterminate “blankness in their poems, revealing their own unique aesthetic experiences and meanwhile leaving the rights and chances of creation and recreation to the “potential readers. So, it is in tune with the readers horizons of expectations when the poets of CCP design blankness in their poems, which is a respect to the potential readers psyches. Blankness in Artistic Conception of CCP is the demonstration of aesthetic essence, which reveals the core of traditional Chinese poetic concept. So, to reproduce the beauty in blankness in English is out of the necessity of transmitting artistic conception, which satisfies the demands of translation aesthetics. Due to the differences between the West and the East, the translator should take into consideration the receptive abilities of the readers, making some proper adjustments in translation so as not to leave the “indeterminacy to be “blankness forever. The author does an overview and analysis of the beauty in Artistic Conception of CCP from the perspective of Reception Aesthetics, including the beauty in blankness, and its reproduction in English. The author thinks that when translating a classic Chinese poem, the translator should try his best to have it rhymed, but the beauty in Artistic Conception of the original poem should not be weakened. What is more, the author does bold practice in translating 12 Classical Chinese poems using certain translation strategies, offering his own versions in the thesis. This thesis falls into three chapters apart from introduction and conclusion. Introduction mainly talks about the development of Reception Aesthetics. Chapter One presents the main content of Reception Aesthetics. Chapter Two focuses on Reception Aesthetics as a guideline for translation of CCP, in which the author talks about the significance and enlightenment of the theory on CCP Translation. A case study of applying Reception Aesthetics to translation of CCP reveals that the reception theory is practicable as guideline for translation of CCP. The author believes that CCP is translatable and does bold practice in translating two popular classical Chinese poems. Chapter Three manifests the beauty in Artistic Conception of CCP and shows that blankness in Artistic Conception of CCP is a means of artistic expression, which is in tune with the readers horizons of expectations from the perspective of Reception Aesthetics. The author provides some suggested methods in dealing with the relevant issues and does bold practice in translating some classical Chinese poems to justify my findings. Conclusion ends the thesis and presents the final statement:Classical Chinese Poetry is translatable; beauty in Artistic Conception of CCP can be reproduced in English under the guidance of Reception Aesthetics; the translator should make appropriate adaptations to solve the problem of “blankness in original poems so that the target readers can understand the poets intention. Key Words: Classical Chinese Poetry, CCP translation, Reception Aesthetics, beauty in Artistic Conception, beauty in blankness AcknowledgementsThis thesis would never have been completed without these timely and valuable instructions as well as much generous assistance.First and foremost, I would like to extend my heartfelt gratitude to my supervisor, Professor Han Zhonghua, for his insightful suggestions and inspiring guidance. During my two years MA Program in SMU, Professor Han has exerted a profound influence on me not only with his academic insights and professional passion but also with his respectable life principles: optimism and tolerance, which undoubtedly would be a priceless treasure for the rest of my life. Secondly, I am greatly indebted to Prof. Wang Dawei, Prof. Zheng Lixin, Associate Professor Qu Zongde, Associate Professor Zhang Yiming, Associate Professor Shang Xin, Associate Professor Zhao Guangxu, and Associate Professor Ni Weiping, whose wisdom and guidance have ignited my inspiration. My sincere thanks also go to my classmates, whose friendship paints my monotonous life with a new shining color. Last but not least, my special appreciation and love go to my beloved wife and daughter for their unrelenting encouragement and support all through these years.Table of ContentsIntroduction1Chapter 1 Theoretical Framework -Main Content of Reception Aesthetics41.1 The Concept of Literary Work41. 2 The Indeterminacy and Concretization51. 3 Horizons of Expectations51. 4 The Implied Reader vs. the Potential Reader7Chapter 2 Reception Aesthetics as a Guideline for Translation of CCP102.1 Significance of Reception Aesthetics to CCP Translation102.2 Enlightenment of Reception Aesthetics on CCP Translation102.2.1 Horizons of Expectations and CCP Translation122.2.2 Indeterminacy of the Text and CCP Translation132.3 A Case Study of Applying Reception Aesthetics to Translation of CCP142.3.1 Semantic Fuzziness162.3.2 Syntactic Fuzziness172.3.3 Pragmatic Fuzziness172.3.4 Imagery Fuzziness182.3.5 Summary192.4 Controversies on Translatability of Classical Chinese Poetry202.4.1 Untranslatability of Classical Chinese Poetry202.4.1.1 Untranslatability of Artistic Conception in CCP212.4.1.2 Untranslatability of Imagery in CCP212.4.1.3 Untranslatability of Rhetoric Skills222.4.1.4 Untranslatability of Literary Allusions242.4.1.5 Untranslatability of Sound252.4.1.6 Summary262.4.2 Translatability of Classical Chinese Poetry262.4.2.1 Style Transplant262.4.2.2. Rhyme Transplant292.4.2.3. Culture Transplant302.5 The Authors Opinion on Poetry Translatability and Practice in Translating CCP33Chapter 3 Beauty in Artistic Conception of Classical Chinese Poetry and Its Reproduction in EnglishSuggested Methods373.1 Beauty in Artistic Conception and Reproduction373.1.1 Surface Artistic Conception383.1.1.1 Perfect Blending of Feeling and Setting383.1.1.1.1 Feeling and Setting Blended together in Every Line383.1.1.1.1.1 Literal Translationthe Most Common Means.383.1.1.1.1.2 Rhetoric Conversion403.1.1.1.2 Feeling and Setting Blended together in Different Lines433.1.1.1.2.1 Literal Translation433.1.1.1.2.2 Translation of the Subject Hidden in the Original Poem453.1.2 Direct Expression of the Poets Own Feelings493.1.2.1 Literal Translation503.1.2.2 Amplification513.1.3 Deep Artistic Conception533.1.3.1 Symbol (象征)543.1.3.1.1 Literal Translation Adding Notes543.1.3.1.2 Building a Bridge between the Symbolic Representation and the Source573.1.3.2 Indirect Description593.1.3.2.1 Literal Translation593.1.3.2.2 Explanatory Hint603.2 Beauty in Blankness of Artistic Conception and Reproduction643.2.1 The Overall Blankness653.2.1.1 Blankness Reserved in Literal Translation653.2.1.2 Employment of Some Hints673.2.1.3 Blankness Filled693.2.1.3.1 Blankness in Feeling Filled693.2.1.3.2 Connotation Put Bluntly703.2.2 Blankness in Images723.2.2.1 Static Blankness723.2.2.2 Dynamic Blankness753.2.3 Blankness in the Last Line773.2.3.1 Blankness Reserved773.2.3.2 Hints Employed793.3 Summary82Conclusion83References85IntroductionThere is no doubt that Classical Chinese Poetry is a shining pearl in the Chinese literary treasure. However, it does not hold a due place in the literature of the world. Why? Maybe the translated versions bring little pleasure to the target culture due to the differences between the East and the West. As a matter of fact, since the 18th century, numerous classical Chinese poems have been rendered into English. In the West, Herbert A. Giles, Ezra Pound and Witter Bynner are famous names among the translators. Meanwhile, more and more translators step into the field, taking painstaking efforts to carry out this excellent career. Among the translators at home, Xu Yuanchong is an outstanding representative, who contributes a lot with his comprehensive and systematic translation works covering Shi, Ci, Qu and Fu (诗词曲赋) almost of all dynasties. Though his works enjoy great popularity at home, Professor Xu has never had the same luck as Pound, whose work Cathey (1915) never fails to be greatly honored as poetry of unequaled beauty in the West. There definitely is something else that lies beyond the surface which deserves our arduous investigation. On translation, three core concepts, “nature of translation, “translatability, and “translation equivalence (Cai Yi, 1995(6):7), have bedeviled numerous scholars in translation theories. The translation of classical Chinese poetry is definitely a more challenging task due to its uniqueness in sound, form and meaning. Virtually, whether CCP is translatable and how to better convey its essence and beauty in a target language still remain controversial in the literary world. As a matter of fact, source-oriented, traditional translation theories trap translators in a dilemma by focusing on such principles as “faithfulness and “equivalence at the linguistic level. In the circumstances, “translation may be defined as the replacement of textual material in one language (SL) by equivalent textual material in another language (TL) (Catford, 1965:20). And according to Meetham & Hudson (1972:713), “translation is the replacement of a representation of a text in one language by a representation of an equivalent text in a second language. Obviously, translation was treated as a process of language trans-coding and reproducing, in which the translators subjectivity by no means mattered while the original text was rated as a holy and supreme criterion. However, the latter half of the 20th century witnessed a significant shift in translation studies with the establishment of Reception Aesthetics. In 1960s with the publication of Literary History as a Challenge to Literary Theory (1967) by Hans Robert Jauss and The Communicatory Structure of the Literary Text (1970) by Wolfgang Iser, Reception Aesthetics, on the basis of phenomenology and hermeneutics theories, was established in Constance School, Germany, as one of important criticism theories. Reception Aesthetics, also called reception theory, is a branch of modern literary studies. It eliminates the previously overwhelmingly author-centered and text-centered paradigms in literary theories, stressing the active role of the reader. Actually, Reception Aesthetics shifted the direction of literary studies. In the study of literature, it opened a door to the possibility of renewing literary history, seeking a new understanding of the history of literature as a communication process between all the three parties: the author, the text, and the readers. As a matter of fact, Jauss theory was greatly influenced by contemporary philosophical hermeneutics, Russian Formalism, Ingardens theory of Materialization and Reconstruction, Marxism aesthetics. Jauss thinks the literary history of positivisms conception neglects the third factorthe reader, during which process, it denies the unique literary historicity. According to him, Marxist theory literature is merely a mechanical economical determinism and vulgar theory of reflection. Formalism cuts off the relationship between literary works and historic conditions, isolating literature from social practices. As a result, it slips into the mire of “art for arts sake. Jauss also thinks that the literary history is a process of aesthetic development and reception, during which the receptive reader, the reflective critic and the author bring the work into actualization. He asserts that “The historical life of a literary work is unthinkable without the active participation of its readers (Jauss, 1982:19). According to Jauss, in the reading process, readers fill in the blanks of meaning and indeterminacy actively and decisively. While in the reception process, readers understand the literary work with their particular “horizons of expectations which refers to the readers implied aesthetic expectation in the act of reading consistent with their evaluation requirement and capacity comprehensively based on their life experience, interest, cultivation, and values. Compared with Jauss, who was more interested in the methodology of literary history as the macrocosm of Reception Aesthetics, Iser focused on the analysis of reading reaction system inside a text as the microcosm of the theory. Iser pointed out: “The literary work has two poles, which might call the artistic and the aesthetic: the artistic pole is the authors text and the aesthetic pole is the realization accomplished by the reader. (Iser, 1983: 275; 1978: 21) From this polarity it follows that the literary work cannot be completely identical with the text, or with the realization of the text, but in fact must lie halfway between the two. The pole of the text and the reader, together with the interaction that occurs between them form the ground-plan on which a theory of literary communication may be built and it is presumed that the literary work is a form of communication. (Iser, 1978: preface) The work is more than the text, for the text only takes on life when it is realized, and furthermore the realization is by no means independent of the individual disposition of the reader. (Iser, 1983: 274) In short, the union of text and reader brings the literary work into existence. As a matter of fact, Reception Aesthetics has exerted such a great influence on the other contemporary theories of literature that it was introduced to West Europe, America and even Japan in the following decade soon after its birth. It also produced an enthusiastic response in China. Starting in the early 1980s, the theory soon spread among Chinese literary critics and theorists through exchanges at academic conferences and publications.Chapter 1 Theoretical Framework -Main Content of Reception AestheticsThe following section is to introduce the main content of Reception Aesthetics that can be introduced into translation studies. Virtually, it is these ideas that are playing the great part in translating activities of translators, and the ideas can be employed to study the reasons contributing to different strategies as well. 1.1 The Concept of Literary WorkWhat is literary work? Reception Aesthetics claims that any literary work is a completely intentional object, which is a multi-faceted “schematized str