1彼得·纽马克翻译理论（1 Peter Newmark's translation theory）This article is contributed by annhdPdf documents may experience poor browsing on the WAP side. It is recommended that you first select TXT, or download the source file to the local view.September 2009Journal of Hubei University of EducationJournal, of, Hubei, University, of, EducationSep. 2009, Vol 26, No19Twenty-sixth volume, Ninth issueAppreciation of aesthetic characteristics in ancient Chinese Poetry Translation- Peter and Peter Newmark's translation theory? In which the use of a flower(Department of foreign languages, Zhoukou Normal University, Henan, Zhoukou 466001)Abstract: poetry is the art of language and the enrichment of a nation's spiritual civilization. Its artistic conception is profound and contains many aesthetic elements. This paper discusses to the aesthetic characteristics of classical Chinese poetry translation and in poetry form, and expoundsPeter? Communicative translation and semantic translation principles of Newmark's translation theory, and the theory of different translated versions, for people to enjoy the beauty and the enlightenment. Key words: poetry translation; aesthetic characteristics; communicative translation; semantic translation classification number: H315. 9 document code: A article number: 16742 344X (2009) 0920128203 Author: Zhang Duo (1980 -), female, Henan, Zhumadian, Ta, postgraduate, research on the theory and practice of translation. One[[1] [2]The translation of English has developed a pioneering study. But looking at the translation of poetry both at home and abroad, we find that the road is still very long. TwoChinese words have a long history of ancient poetry, especially poetry is a bright pearl in the treasure house of Chinese literature. Poetry is an art of language, it not only reflects the people of an era in a society of value and aesthetic taste, etc., and is also a highly concentrated national spiritual civilization; therefore, many translators both at home and abroad and paying attention to the translation of poetry. Poetry is art, while translating poetry is the art of melting new art into life. Poetry is difficult, poetry is more difficult to translate, poetry is more difficult to translate. From the early twentieth Century to the present, there have been several climaxes in the translation of classical Chinese poetry. According to Guo Yanli's research, the earliest Chinese translation literature was poetry. However, the translation of poetry has always been regarded as the most difficult, becausethe poetry as a literary categories in the most beautiful and most sophisticated language concise, elegant, subtle, harmony, and rhythm genre intention is closely together with the aesthetic pursuit of the infinite rich and artistic implication, the poetry translation has doomed out of the ordinary characteristics of poetic form, poetic flavour, rhyme,, everything, everything is worth considering, but it is difficult to. There are also different views on the translatability and translatability of poetry. Jacob Xun from the semiotic standpoint to discuss the translation of poetry when he said syntactic and lexical categories -- root, prefix, phoneme and its components in poetry are carrying their own meaning, is a part of the art of poetry,Therefore, poetry is not translatable by definition and can only be creatively converted (creative, transportation). ForestFrom the point of view of literature aesthetics and poetry art, poetry translation is to Yuan Wenwen(source, text) the reproduction of aesthetic and artistic charm [4], hence the translation of poetry. When we should not only solve the general literary translation how to use their own language to convey the foreign literary style, ideas and other issues, but also must solve the problem of how to use the same refined language and poetry, with concise form to convey the original poem aesthetic problems. thisAesthetic characteristics, that is, the artistic conception and verve of poetry, are the root and vitality of poetry.Professor Gu Zhengkun, a famous scholar at Peking University, gives a detailed account of the appreciation of poetry in the comparative appreciation and translation theory of Chinese and Western poetry. The beauty of poetic imagery and the beauty of Shio in China and Western countries"[comparison, poetic meaning, beauty of poetry, beauty of poetry, beauty of poetry, etc.] 5. Creation of poetry translationSexual activity originates from appreciation, and poetry translation requires not only the translator to convey the semantic information of the original poem in the course of translation practice, but also to reproduce the aesthetic features and aesthetic charm of the original poem. Peter Newmark is a British linguist and translation theorist, mainly engaged in the German translation of ScienceThere are original views and cognition in many translation theories. According to Newmark their knowledge broad, and with some interdisciplinary knowledge such as logic and PhilosophyThe three language functional theories proposed by cobsen are expressive functions (exp, resive, function)Mr. Yutang also said: "all the words sound beauty, meaning beauty, like beauty, is the gas in the form of beauty, the translator or Gu meaning but forget the God, or the gods but forget its body, never put the Italian style and the beauty of God Wenqi sound completely at the same time translate."[3]However, many translators have a problem, take leave of, engaged in the translation of ancient Chinese poetry.(Pound) imagery poetry, the image of Chinese ancient poetry, and the United KingdomAs for us, we have left a lot of precious spiritual wealth. Such as Pound (Ezra Giles (H. A. Giles) on Chinese appreciation and translation of ancient poetry, more numerous Chinese translation scholars left many couples of famous quotes in this field. Professor Xu Hao, Professor of Peking University's excellent work "Three Hundred Tang poetry", so that readers at home and abroad to see the ancient books of the original, the Chinese essence of the essence and essence of Chinese civilization. Gu Zhengyang, Professor of Shanghai Univer, studies the English translation of classical poetry and lyrics. From an aesthetic perspective, the Chinese ancient poetry and lyrics? 128?Learning and linguistics have put forward their own new views on translation theories. He is based on the Buler and Ja2 information capabilities (information, function) and the vocative functionLation) point of view. The largest contribution to Newmark's translation theory is to emphasize the communication over了交际翻译 (translation) 和语义翻译 (semantic trans2 译和语义翻译的区别, 并对两种翻译的本质和适用范围进行了准确的阐释, 这在一定程度上弥补了尤金奈达交际翻译理论的局限. 他对所有的语篇进行分类, 并分析其对翻译者的影响, 任何表达功能型的文本 (诗歌、小说、戏剧等富于想象的文学作品. 权收稿日期: 2009 2 6 15威性的声明、演讲、散文) 其倾向于作者原语言及文化都应侧重于语义翻译, 信息功能型 (科学论文、新闻报道、大多数非文学作品) 和劝说功能型 (广告、政治宣传品、公告说明书) 的文本应侧重于交际翻译.因此, 译者决定采用哪种翻译方法时, 首先应考虑面对的是文学作品还是非文学作品文本, 在翻译语言上是倾向于译文还是原文, 在翻译时重点是放在译文读者身上还是原作者身上, 然后根据文本特点采用适当的翻译方法进行翻译研究. 纽马克在 1981 年出版的论文集《翻译问题的探讨》中的论文《交际翻译和语义翻译》中准确和清晰地论述了语义翻译和交际翻译的意义和适用范围.交际翻译试图使读者阅读译文所产生的效果尽可能地接近原语读者阅读原文所产生的效果.语义翻译则试图在合乎第二语言的语义和句法结构下将原文准确语境意义尽可能贴切地译出. 交际翻译和语义翻译之间的差别从理论上讲是相当多的.语义翻译侧重于表达原来作品的思维过程, 并力求保持原作的语言特点和独特的表达方式, 充分发挥语言的表达功能, 它强调忠实于原语文本作者, 并准确传达原文文本的语义内容.在译语的语义和句法结构允许的情况下, 译文应尽可能准确地、贴切地再现原文的文本意义和语境意义. 交际翻译则将重点放在目的语文本读者, 强调一种特定语言和文化, 将异域元素转化入目的语文化, 它的关键是传达信息让读者去感受去思索, 它为读者量体裁衣, 注重读者的理解和反映. 语义翻译和交际翻译都是以认知翻译为基础, 都是对认知翻译的修正和完善, 都要求在目的语文本中准确传递原语文本的信息.在同一语篇中, 有时要用语义翻译, 有时要采用交际翻译, 有时两者兼而有之, 相辅相成, 互为补充. 在文学作品的翻译中, 纽马克以诗歌翻译为例强调了审美价值或者说语义翻译当中诗意事实的重要性, 他认为 "语义" 翻译者被要求对这些审美元素进行说明, 而不一定要满足这个或者是那个读者[8] [6] [7]D Rive the Orioles away, their music from the trees to ll W Hen she dreamed that she went to l IAO Hsi to join him there, they wakened her. (W Itter bynner译) D Rive Orioles off the tree for their Songs awake me from my dear Dream ING of far off on the Frontier (许渊冲译)[12] 诗歌是语言的艺术, 而一首好诗往往意在言外, 自蕴其味这首诗具有较浓的文化意境, 它取材单纯而含蕴丰富, 意象生动而语言明快, 它以小见大, 语短意长看来只是一首抒写儿女情长的小诗, 却反映了当时兵役制下广大人民所承受的痛苦.在结构上, 这首诗不同于惯常的起承转合的思路, 而是突如其来地先写了一个 "打起黄莺儿" 的动作意象, 然后层层递进地叙明原因, 为何 "打起黄莺儿" 是因为不让黄莺儿在枝间啼叫; 为何 "? 莫教枝上啼 "是因为黄莺的歌声打扰了佳人的好梦; 为何特别恼? 怒黄莺 "惊妾梦" 是因为它把佳人在梦中到辽西与丈夫相会这? 一线可怜的希望也无情地打消了.Bynner的译文中 l iao hsi纯属直译, 它只是传达了字面意思而不能表露出其中暗含的深意.从纽马克的交际翻译的原则来说, bynner的译法是忠实于原文, 不加不减, 只不过是外国读者不了解诗中这一文化背景, 因此不能了解 "辽西" 的文化内涵; 而许的译文采用的是意译, 从原诗的意义上着手进行翻译, 改成了原文没有而意义上等同的内容, 体现了其暗含的荒凉、遥远、艰险之意.不仅如此许的译文还创造性地再现了原诗的语气修辞风格, 沿用了和原文一样的五言绝句, 又采用了韵律 AABB 保持了原文格律的和谐与美, 将诗中 "意美、音美、形美" 再现的淋漓尽致.而且四句翻译句句设疑句句作答, 犹如香蕉剥皮, 剥去一层还有一层.所以它不仅篇法圆静而且在结构上也曲尽其妙. 这正如 "语义翻译" 原则中所提出的结构美比喻美和声音美一样, 其决定了译文的美学价值, 在诗歌翻译中译者不能忽视任何一个因素, 尽管在原则上, 针对不同的文本, 他可以重新安排这[13] 在纽马克的交际翻译与语义翻译些因素, 优先考虑认知意义语义翻译更侧重于保留原作的美学价值.美学价值是由结构美 (Structure) 、比喻美 (metaphor) 和声音美 (Sound) 三种因素决定的, 尤其在诗歌和散文翻译中, 翻译者不可忽视其中任何一种因素.In particular, we should strengthen the subject status of the translation aesthetic subject in the translation of classical poetry into english. Professor Liu Miqing once said, "the aesthetic subject of translation is the translator.". As far as the translator is concerned, the aesthetic attitude of the aesthetic subject involves the question of translation, and its task must be twofold, the understanding and appreciation of SL (source, language), and the repetition of the aesthetic information of SL[present and creation]. 10] from this we can see that translators must understand and appreciate the beauty of the original [9]Depends on three factors to elaborate the aesthetic value ofthe paper: the first is the structure of the text is the overall planning and individual sentences and the shape of the balance; the second factor is the metaphor, it refers to the visual image can arouse sound, touch, smell and taste; the third is sound, it includes alliteration, assonance, rhythm well, onomatopoeic words in poetry and rhyme. Bai Juyi's "Pipa" poetry has so few words: large strings hummed like rain, the small chord whispers. Noisy as mixed shells, pearls falling into a jade plate. The two translations are as follows:The larger strings hummed like rain The small whispered like a secret. - Hummed, whispered - and then were interm ingled, L ike a pouring of large and s mall pearls into a p late of jade. (W itter Bynner) The thick strings loud thrummed like the petering rain, The fine strings softly tinkled in a murmur stain. W hen m ingling loud and soft notes were together p layed, You heard large and small pearls cascade on p late of jade.Learn the features and transfer the function successfully. Then, for the translator, he must first understand what is beautiful in the original poem, and know what angle to appreciate and what translation method to be adopted to reproduce the aesthetic connotation of the original poem. As the subject of aesthetic understanding must possess outstanding aesthetic ability and aesthetic experience, such as: aesthetic experience, aesthetic perception, aesthetic imagination, aesthetic emotion and aesthetic mood etc.. As Burton Raffel said, "the translation of literary works, especially the translation of poetry, can not be of great value unless the aesthetic requirements are fully taken into account.".[11]Three we understand the Newmark's translation theory and understand the necessity of poetry translation and aesthetic characteristics of the aesthetic subject aesthetic importance, so we from the English translation of the following versions of ancient poetry to explore this theory. Jin Changxu's "strong" in so few lines: playing the Orioles, Mo Jiao branches cry. Cry when startled, concubine dream, not get western liaoning. The two translation is:129?(translated by Xu Yuanchong)Reference:[1] Li Yuliang, Liu Zhongde translation of [J]. Journal of University of Jinan, 2001, (4). [2] Guo Yanli. China modern translation literature introduction to [M.Wuhan: Hubei Education Press, 2001: 304. [3] Lin Yutang. Translation [A] Luo Xinzhang. The Analects [C. Beijing: Commercial PressAs a poem, its soul lies in the beauty of artistic conception, but the beauty of rhyme and form is the basic attribute of poetry, and it is an integral part of poetry. Generally speaking, poetry rules including rhythm, rhyme and musical means three parts. Metrical poetry is not only a manifestation of the beauty of poetry, but also a difference from other literary worksOne of the formal features of a cut. Translator and poetry, two systems, English and French two languages, Qian Zhongshu"Pavilion, 1984: 426, 430.[4] Lee Chen Jianjing. The image of the English translation of turf, China in classical poetry processing [J] Sichuan DivisionLanguage) Xu is translating "the soundbeautiful" the founder of the theory and practice [14], he believes that even if the one hundred percent to convey the beauty of the original poem, without rhyme, it is impossible to maintain the original poetry style and taste [15] this poem has the obvious characteristics of the beauty of sound. Mr. Zhu Guangqian also said: "the temperament is manufacturing tool to improve the distance, humble things to the ideal realm. This is a beautiful temperament beautification effect. The maximum price "[value is its musicality, the lifeblood of poetry. 16] in the original, Bai Juyi with "noisy"Journal of fan college, 2001, (6)[5] Gu Zhengkun. Comparison of Chinese and Western poems appreciation and translation theory [M. Beijing: Tsinghua UniversityEdition society, 2003, (6)[6]Newmark, P. App roaches to Translation, Oxford and New York:Pergamon, 1981: 39. [7] Jeremy? Mandil. An introduction to the study of translation [M. Beijing: the Commercial Press, 2007.[8] [13] Xie Tianzhen. Contemporary western translation theories. Tianjin: Nankai University press, [M"Two voices" imitate the sound, and use "two words" as the "rain", such as "whisper". "Mixed bomb" reappearance of the big string string of two small melodic mix. There is a "The tune lingered in the room. three days without a break". It will be through the analysis of the two versions, Mr Xu not only follow the original poetry AABB rhythm, but also in structure, sound and meaning aspects are also reproduced the original poetry style and content, but also in line with the principle of Newmark's semantic translation of "three beauty" charm, so be a stroke above. In the Bynner version, he will "string" and "small string" intermingled "were translated as" large strings "small strings in2""""Term, ingled" did not accurately express the words of poetry. Because of this poemSociety, 2008: 15, 19.[9] Liu Jinlong, Wang Ying. Appreciation of English translation of ancient poetry [J]. Journal of Liaocheng University, 2004, (3). [10] Liu Miqing. Aesthetics of translation [J]. Foreign languages, 1996, (5). [11] Raffel, Burton.诗歌翻译的语用学。
