象似性在中国诗歌翻译中的应用【任务书+开题报告+正文】.doc

1、 毕业论文（设计） Title: The Application of the Iconicity to the Translation of Chinese Poetry 题 目 : 象似性在中国诗歌翻译中的应用 学生姓名 学 号 指导教师 年 级 2009 级英语本科（翻译方向）二班 专 业 英语 系 别 外国语言文学系 黑龙江外国语学院 2013 届毕业论文 i 黑 龙 江 外 国 语 学 院 本 科 生 毕 业 论 文 （ 设 计 ） 任 务 书 姓名 学号 专业班级 英 语本科翻译二班 毕业论文（设计）题目：象似性在中国诗歌翻译中的应用 毕业论文（设计）的立题依据 在导师的帮助下自主

2、命题。 主要内容及要求 1，综合运用的知识能力。 2，研究方案的设计（或论证）能力。 3，研究方法和手段的运用能力。 4，查阅文献资料能力。 进度安排 10 月 20 日 选题 10 月 20 日 10 月 30 日 接受指导老师的指导 1 月 6 日 1 月 20 日 拟定论文大纲 1 月 21 日 2 月 28 日 搜集、查阅、整理相关资料 3 月 1 日 3 月 20 日 论文开题 3 月 21 日 4 月 20 日 初稿审定 4 月 21 日 4 月 30 日 第一次修改 5 月 1 日 5 月 15 日 第一次审定 5 月 15 日 5 月 30 日 第二次修改 5 月 30 日 6

3、 月 5 日 定 稿 6 月 5 日 6 月 15 日 论文评阅小组评审论文（设计） 6 月 10 日 毕业论文（设计）答辩 学生签字： 指导教师签字： 年 月 日 黑龙江外国语学院 2013 届毕业论文 ii 摘要 索绪尔提出的语言符号任意性，近些年不断受到质疑，来自语言象似性的研究是最大的挑战。 语言象似性理论是针对语言任意性理论提出来的，并在不断发展。 象似性是当今认知语言学研究中的一个重要课题，是指语言符号的能指与所指之间的自然联系。 本文以中国诗歌英译为例，探讨象似性在中国诗歌翻译中的应用，从以下几个部分阐 述： （ 1） 象似性的发展； （ 2） 象似性的定义及分类；（ 3） 中国

4、诗歌翻译的标准；（ 4）象似性在中国诗歌翻译中的应用，主要从以下几个方面论述：声音象似、顺序象似、数量象似、对称象似方面。通过以上几个方面的探究，探讨了中国诗歌翻译中象似性原则的重大作用，在诗歌翻译过程中有助于得到“形神皆似”和“意美、音美、形美”的理想翻译效果。 关键词： 象似性；诗歌；翻译 黑龙江外国语学院 2013 届毕业论文 iii Abstract The arbitrariness theory of language signs proposed by Saussure is severely challenged by the study of language iconici

5、ty in recent years. The theory of iconicity is put forward in contrast to that of arbitrariness and has been developing gradually. Iconicity, which is an important subject in the research of cognitive linguistics, refers to a natural resemblance or analogy between the form of a sign and the object o

6、r concept. This thesis mainly discusses the application of the iconicity to the translation of Chinese poetry. The paper is better described from the following parts: (1) The development of the iconicity; (2) The definition and classification of the iconicity; (3) The standards of the translation to

7、 Chinese poetry; (4) The application of the iconicity to the translation of Chinese poetry, mainly discussed from the following aspects: sound iconicity, order iconicity, quantity iconicity, and symmetrical iconicity. Through in-depth discussion of the above aspects, this paper could come to the con

8、clusion that the iconicity is very important in the translation of poetry. It is conductive to reach the ideal effect of “the similarity of form and spirit” and “the three beauties”. Key words: the iconicity; poetry; translation 黑龙江外国语学院 2013 届毕业论文 Contents 摘要 .i Abstract .ii Chapter 1 Introduction

9、.1 Chapter 2 An Overview of the Iconicity .3 2.1 The Iconicity and the Arbitrariness . . 3 2.2 Definition of the Iconicity . .4 2.3 Classification of the Iconicity 5 Chapter 3 The Standards of the Translation to Chinese Poetry .6 3.1 The Similarity of Form and Spirit . .6 3.2 The Three Beauties .7 3

10、.3 The Principle of the Iconicity . . .7 Chapter 4 The Application of the Iconicity to the Translation of Chinese Poetry .8 4.1 The Application of the Iconicity to the Translation of Chinese Poetry on the Phonological Level .9 4.1.1 Sound Iconicity and its Translation on Chinese Poetry .9 4.2 The Ap

11、plication of the Iconicity to the Translation of Chinese Poetry on the Textual Level . . .9 4.2.1 Order Iconicity and Its Translation on Chinese Poetry . .9 4.2.2 Quantity Iconicity and Its Translation on Chinese Poetry . . 12 4.2.3 Symmetrical Iconicity and Its Translation on Chinese Poetry.15 Chap

12、ter 5 Conclusion . .17 Bibliography . .18 Acknowledgements .19 黑龙江外国语学院 2013 届毕业论文 1 The Application of the Iconicity to the Translation of Chinese Poetry Chapter 1 Introduction The ancients left a lot of poetry in China which reflects the broad and profound Chinese literature. With the development

13、of Chinese literature, more and more scholars have been widely studied about the translation of Chinese poetry. Among the standards of the translation to Chinese poetry, the iconicity has aroused more and more concern. The theory of iconicity was first proposed by C.S.Peirce, founder of American pra

14、cticalism and semiotics. Since then this theme has been discussed and studied by many famous researches like Jakobson, Haiman, and so on. Iconicity is one of the hotly-discussed issues at present in the linguistic and semiotic field. The theory of iconicity is a great challenge to “Saussurean theory

15、 of arbitrariness” and a forceful complement as well. Iconicity in language falls into the category of cognitive linguistics, which is regarded as an essential part of cognitive linguistics. Iconicity is not only a challenge but also a complement to Saussures arbitrariness of linguistic sign. The di

16、scussion over arbitrariness and iconicity is a hot topic in the field of language research, which is actually a problem about the relationship of the signifier and the signified. In fact, the study of iconicity has been carried out in recent years, Many philosophers, semioticians and linguists have

17、been concemed with such phenomenon in language for a long time. Iconicity can be found not only in natural language, but also in literary language, especially in poetry, which is said to have the richest presence of iconicity in all literary genres, because poetry allows the most complex and innovat

18、ive use of language on the typographical level(such as special use of fonts and spacing), on the sound level (such as sound symbolism, metre and rhyme), on the morphological and syntactic level (such as changes in regular word order and distancing), and on the 黑龙江外国语学院 2013 届毕业论文 2 textual level. Th

19、is thesis attempts to analyze Chinese poetry and its translation from a more integrated and original perspective, an iconic perspective. Much Chinese poetry can be translated from the perspective of iconicity. The iconicity is an important feature of poetry and should be reproduced in its translatio

20、n. In the application of the principle of iconicity to the translation of Chinese poetry, it is advisable to grasp the expressive features of iconic discourse in the source version and properly present them in the target version. This article through the following aspects: sound iconicity, order ico

21、nicity, quantity iconicity, symmetrical iconicity so as to realize the re-creating in the form as well as in the spirit. 黑龙江外国语学院 2013 届毕业论文 3 Chapter 2 An Overview of the Iconicity The theory of iconicity is regarded as a great challenge to Saussures arbitrariness of linguistic sign. The theory of

22、iconicity was first put forward by C.S.Peirce, the founder of American practicalism and semiotics. According to Peirce and Haimans classification of iconic signs, this paper gets six subclasses of iconicity: the sound iconicity, the distance iconicity, the order iconicity, the quantity iconicity, th

23、e graph iconicity and the symmetry iconicity. 2.1 The Iconicity and the Arbitrariness The arbitrariness theory of language signs proposed by Saussure is severely challenged by the study of language iconicity in recent years. The view that the language sign is arbitrary is the core of Saussures lingu

24、istic theory. Saussure found the nature of language symbol but he left the link unexplained between the signifier and the signified. The theory of iconicity is put forward in contrast to that of arbitrariness and has been developing gradually. Iconicity, which is an important subject in the research

25、 of cognitive linguistics, refers to a natural resemblance or analogy between the form of a sign and the object or concept. Iconicity has been discussed hotly at present in the linguistic and semiotic field. The theory of iconicity is put forward in contrast to that of arbitrariness and has been dev

26、eloping gradually. Meanwhile, it is a forceful complement to Saussures arbitrariness as well. Iconicity in language means that the form of the word or sign conveys the meaning of the word or sign. The theory of iconicity is regarded as a great challenge to Saussures arbitrariness of linguistic sign.

27、 The study of iconicity has been carried out in recent years. 黑龙江外国语学院 2013 届毕业论文 4 2.2 Definition of Iconicity The theory of iconicity was first put forward by C.S.Peirce, the founder of American practicalism and semiotics. Since then this theme has been discussed and studied by many famous researc

28、hers like Haiman, Givon, and so on. The following are some of the representative definitions of iconicity. Haiman characterizes iconicity as a set of “signs whose meaning in some crucial way resembles their form”. He also claims that “ linguistic forms are frequently the way is because, like diagram

29、s, they resemble the conceptual structures they are intended to convey”. The relationship between form and meaning is to a considerable extent motivated. Cognitive linguists maintain that linguistic structure is a reflection of cognitive or experiential structure. Newmeyer argues that iconicity “emb

30、odies the idea that the form, length, complexity, or interrelationship of elements in a linguistic representation reflects of communicative strategy that the representation encodes.” Givon claims that any non-arbitrary relation in language qualifies an iconic relation. Therefore, some scholars usual

31、ly conclude that iconicity is the similarity between the signifier and the signified. Language iconicity refers to the phenomenon of imitation between the sound, meaning, and form of language and what they signify in the real world. From the above-mentioned definitions, this paper can find that ther

32、e is still no fixed definition of iconicity so far. Although researchers have made many attempts, none of their definitions is so perfect as to explain all the phenomena in language, and to some extent, its application is dependent on the subjectivity of the researchers and scholars themselves. 黑龙江外

33、国语学院 2013 届毕业论文 5 2.3 The Classification of the Iconicity Outside world is the source of signs meaning, according to Peirce, signs can be placed in to three classes. Peirce identifies three types of signs: icon, index and symbol. The three kinds of signs are different from each other in terms of the

34、 degree of arbitrariness. He also further divides icons into three types: images, diagrams and metaphors, which differ from each other according to the similarity between the sign and its objects. In accordance with these he concludes three types of iconicity: imagic iconicity, Diagrammatic iconicit

35、y and Metaphorical iconicity. Haiman further develops Peirces theory and regards diagrammatic iconicity as “a systematic arrangement of signs, none of which necessarily resembles its referent, but whose relationships to each other mirror the relationships of their referents.” Haiman further classifi

36、es diagrammatic icon into two types: isomorphism and motivation. According to Peirce and Haimans classification of iconic signs, this paper gets six subclasses of iconicity: the sound iconicity, the distance iconicity, the order iconicity, the quantity iconicity, the graph iconicity and the symmetry iconicity. The iconicity can be found on the phonological level, lexical level, syntactic level and textual level. This thesis will analyze the four iconicity principles of them.