1、毕业论文 文客久久 本科 毕业论文 (设计 ) 题 目： Image Reconstruction in Pounds Translation of Chinese Departure Poems-from the Perspective of Readers Response Theory 学 院： 学生姓名： 专 业： 英语 班 级： 指导教师： 起 止 日期： Contents Abstract . 1 Introduction. 3 1. Ezra Pound and His Departure Poems. 3 1.1 Ezra Pound and Cathay. 3 1.2 Bri
2、ef Introduction to Three Departure Poems in Cathey. 4 1.3 Image Reconstruction in These Departure Poems. 5 1.3.1 Definition of Image Reconstruction. 5 1.3.2 Aim of Image Reconstruction According to Pounds Authorial Style. 6 2. Readers Response Theory . 6 2.1 Development of Readers Response Theory. 6
3、 2.2 Relevant Studies at Home and Abroad . 7 2.3 The Application of Readers Response Theory in Chinese Classical Poetry Translation . 7 3. Pounds Image Reconstruction in Chinese Departure Poems from Readers Response Theory . 8 3.1 Main Methods of Image Reconstruction . 9 3.1.1 Ellipsis . 9 3.1.2 Emp
4、hasis on Verbs . 10 3.1.3 Superimposition while Omitting Subordinated Images. 10 3.2 Readers Effect on Image Reconstruction in Three Departure Poems. 11 3.2.1 Effect of Original Image on Chinese Reader . 11 3.2.2 Effect of Reconstructed Image on Chinese Reader . 12 3.2.3 Consistence between the abov
5、e Effects . 13 Conclusion . 13 References. 15 1 摘要 近几年，随着各国越来越重视文化交流，中国古典文学，尤其是古典诗歌，日益成为西方文学世界比较和研究的焦点，因此，古典诗歌的英译成了十分重要的课题。 美国著名诗人，二十世纪初意象派的领军人物 埃兹拉 .庞德 是一位中国古典诗歌翻译者，以意象重塑著称。他所著的华夏集是其英译古典诗歌的集大成之作。 庞德的意象重塑是华夏集中比较重要的翻译方法，这种以读者文化认同为中心的解读方法 , 可以克服一些东西文化传播中的时间、空间及文化方面的障碍 ,易于被西方读者所接受。关于庞德的意象重塑，从目的论、译 语优势、
6、“不忠的美人”翻译论等角度进行研究的不在少数，而利用读者反应论进行研究的并不多，最接近的也只是对意象错位的研究。实际上，庞德进行意象重塑的目的正是为了让西方读者更感同身受地理解中国古典诗歌。因此，笔者选取了华夏集中的三首离情诗，拟从“读者反应论”角度对庞德的意象重塑进行研究，探讨意象重塑在传达诗歌原意方面产生的重要影响，以鼓励译者创新翻译中国古典诗歌。 关键词 意象重塑；华夏集；离情诗；读者反应论 2 Abstract In recent years, with more emphasis on cultural exchange between different countries, Ch
7、inese classical literature, especially classical poetry, has become the focus in Western literature world. Therefore, translation of classical poems from Chinese to English becomes an important issue. Ezra Pound, an American poet, the pioneer of imagism in early 20th century, is also a translator of
8、 Chinese classical poems. Being famous for his image reconstruction, Pound agglomerates his essence in Cathey. Image reconstruction, focusing on readers cultural background, is the most important method in Cathey， which overcomes barriers in exchange between oriental and western culture in either ti
9、me and space. It is easily and widely accepted by western readers. Experts have done research on image reconstruction in the view of teleology，the target language advantage and other aspects except for readers response theory. In fact, the aim to use image reconstruction is to enable western readers
10、 to understand the poems more clearly and vividly. Thus, this thesis takes three departure poems in Cathey to probe into image reconstruction in the view of readers response theory. It will concentrate on the important influence image reconstructions make in transforming meanings of original poems,
11、and encourage translators to translate Chinese classical poems with innovation. Key words: image reconstruction; Cathey; departure poems; readers response theory 3 Image Reconstruction in Pounds Translation of Chinese Departure Poems-from the Perspective of Readers Response Theory Introduction Chine
12、se classical poetry is always the heated discussing target in both domestic and foreign literature field. Like Chinese monochromes, Chinese classical poetry devotes particular care to unique characteristics of image. There are large quantities of scholars both at home and abroad searching for proper
13、 methods as to how to translate images both vividly and acceptably, hence several remarkable achievements have been concluded. Ezra Pound was a famous poet and translator. He was also the leader of American Imagism. He collected 19 Chinese classical poems and gathered them up in a book called Cathey
14、. Instead of translating faithfully, Pound did a lot of image reconstruction which were new and brilliant to western readers. Pounds aim of image reconstruction can be explained in Nidas Readers Response Theory, which emphasizes readers response among all the aspects in translating process. Accordin
15、g to Nidas Readers Response Theory, the relationship between target receptors and translated message should be substantially the same as the relationship that exists between the original receptors and the message. That is based on the concept of dynamic equivalence whose key point lies in receptors
16、response. With Readers Response Theory, Pounds translation grasped the essence of Cathey which was in accordance with the original ones. He achieved the approximation between original language readers and western readers, and made Chinese classical poems reborn in modern time. This thesis will first
17、ly introduce Ezra Pound and three departure poems in Cathey, leading to the definition of image reconstruction and its application. Then the author will present the support theory- Readers Response Theory and introduce the relevant development. At the key part of the thesis, the author will analyze
18、image reconstructions in above departure poems under the guidance of Readers Response Theory, in order to know Pounds tendency in translation and throw light on future translating practice. 1. Ezra Pound and His Departure poems 1.1 Ezra Pound and Cathay Ezra Pound, a famous American poet, was a majo
19、r figure in early modernist movement in poetry history. He became better known for his important role in developing Imagism, which emphasizes images correctness and veracity. The principles imagists held were totally opposed to the prose style in Victorian period which laid too 4 much emphasis on te
20、dious rhythm and artificial words. When working in London, Pound helped to discover and shape the work of contemporaries such as T. S. Eliot, James Joyce, Robert Frost, and Ernest Hemingway. Pound himself also wrote a lot of poems which were good at imagism. He absorbed features from Japanese haiku
21、and Chinese classical poems and applied these features to his later poems, which received the publics welcome and gained fame for him. In 1908, Pound left America for the UK. During that time, he had already been interested in Chinese culture. About 1913, Pound received Chinese material from Fenollo
22、sa who had special interest in Chinese and Japanese culture. Fenollosas manuscript was composed of more than 150 Chinese classical poems written by famous Chinese classical poets like Li Bai, Wang Wei and so on. “The immediate result that came out of Fenollosas Chinese materials was Cathay, a bookle
23、t of fourteen Chinese poems published in April 1915” (Jiang, 2001:56). Pounds final choices of 19 poems were not arbitrary, but elaborate. All the poems he chose reflected his own thought on poetry, his translating principles and background. Strictly speaking, Pound was not a faithful translator. Ju
24、st like his bold style of writing, his translations were not simple literal renderings of original ones. Since he did not know Chinese at all and relied solely on Fenollosas Japanese-mediated notes which were translated from Chinese. Fenollosas translation were often inaccurate and obscure, therefor
25、e, instead of translating, Pound did a lot of recreation, using approaches like image superimposition, image reconstruction and image deletion. Cathey well manifests Pounds aesthetic idea, for each poem has vivid images. Take Liu Ches落叶哀蝉曲 as an example: And she the rejoicer of the heart is beneath
26、them”, “A wet leaf that clings to the threshold”（“虚房冷而寂寞”“望彼美之女兮安得 ,感余心未宁 ”） . The sentences are similar with Pounds poem In a Station of the Metro: The apparition of these faces in a crowd: Petals on a wet, black bough. Both two poems embody one of Pounds principles in aesthetic idea, that is “the
27、instant presentation of compound of emotion and reason”. The image “a wet leaf that clings to the threshold” is dismal. The poet wanted to show his sadness as he had lost his lover and could never find her again. The leaf is what Pound called “objective correlative”. Pound used the approach to mater
28、ialize poets emotion vividly. Another distinctive art feature in Cathey is simple but powerful poetry language. All the poems are composed of simple sentences and phrases instead of complex grammar structure such like subordinate clause. 1.2 Brief Introduction to Three Departure Poems in Cathay The
29、themes of poems Pound chose to translate can be classified into two kinds: one is taking lonely wives as examples and love as clue. The other is using depa rture as themes and friendship as clue. Pound chose Li Bais Taking Leave of a Friend（送友人） , Separation on the River Kiang（送孟浩然之广陵） , Leaving-Tak
30、ing Near Shoku（送友人入蜀） and Wang Weis “Light rain is on the light dust”(for theres no title, 5 the author takes the first sentence as its title)（送元二使安西） and formed them as Four Poems of Departure. Because Taking Leave of a Friend and Leaving-Taking Near Shoku were written by the same writer with same
31、style and emotion, most researches have been done on the Taking Leave of a Friend. Li Bais Separation on the River Kiang was written for his dear friend Meng Haoran who was also a famous poet. Its a departure poem written when Meng set out to Yang Zhou. There is no clear time or character in Lis ano
32、ther departure poem Taking Leave of a Friend, but the gloomy mood of both poems are the same. Compared with Li Bais powerful atmosphere, Wang Weis delicate style expresses another beauty of departure. Wang Wei wrote this poem to memorize his friend whose family name was Yuan. In Pounds view, Chinese
33、 poets were good at writing natural scenery and combination between natural things and personal feeling. Departure is a common theme in both oriental and western literature. Departing with friends not only means gloomy mood of waving goodbye to the past, but also manifests happiness of saying hi to
34、tomorrow. However, as there are differences between Chinese and western culture, it will be difficult to explain the gloomy mood of departure in Chineses mind to western readers by original images and scenery appearing in poems. Chinese poets usually use wine, willow ( which has the same pronunciati
35、on with “stay”), green grass, west wind, etc., while the images western poets use are more arbitrary, like arrow and song in Longfellows “I shot the arrow in the air”, a cup of wine in Robert Burns “Auld Lang Syne”, etc . How to establish resonance in western readers mind when they are reading the t
36、ranslation? Pound, who consistently laid his emphasis on image, made absolutely revolutionary changes in these images to strengthen departure mood, that is, image reconstruction. 1.3 Image Reconstruction in above Departure Poems 1.3.1 Definition of Image Reconstruction In Advanced Learners English-C
37、hinese Dictionary, “image” is described as a word or a phrase that describes something in an imaginative way. As a literature term, image refers to the impression of a certain object. Ai Qing believed image is linked to sense organ and its a concrete feeling. Zhu Guangqian held the opinion that imag
38、e is the shadow of perceived object which is left in our mind. Yang Zijian said that image is a sign（ Cong, 2007： 188） . It is a compound structure consisted of lots of specific figures and abstract feeling. The pioneer of imagism Ezra Pound illustrated his idea that “an image is what presents an in
39、tellectual and emotional complex in an instant of time” （ Cong, 2007： 188） . In both western and Chinese poems, image has the meaning of material, but the functions are different. Image is an object in western poems while it is a medium in Chinese poems. Take “鸡声茅店月，人迹板桥霜” as an example . If we rega
40、rd image as the subject poet wanted to present, it means the only sequence of noun 6 or ellipsis. Even Pound can imitate this style. But the essence is, under the loose surface of images, Chinese poets put meaningful philosophic connotation in poems. Due to this difference, Pound determined to recre
41、ate the images, reconstructing them in the purpose of expressing deep meaning behind the surface. That is image reconstruction. 1.3.2 Aim of Image Reconstruction according to Pounds Authorial Style As an imagist, Pound found simple images which Chinese poets emphasized were in accordance with lingui
42、stic poetic of imagism. In spite of Fenollosas note and comments, Pound got rid of bound of original poems. When dealing with couplets which were called “ 对联 ” in Chinese, Pound broke the bounds of original poems and highlighted oral principle in imagism. Like Chinese poets, Pound often used phrases
43、 instead of long complete sentences. When confronted with thorny reiterative, Pound replaced them with normative English grammatical structure. In addition, he abundantly used his imagination to reconstruct images he and his readers couldnt understand. For example, he imagined “荡子 ” in “荡子行不归 ” as a
44、 drunker, translating as who now goes drunkenly out. He translated “竹马 ” in “郎骑竹马来 ” as bamboo stilts which were familiar among English kids. He also entitled 青青河畔草 as The Beautiful Toilet, making the artistic conception more close to western girls life style. Pound insisted that coherence and juxta
45、position in translating will create new constructing method to make words powerful. Thus, Pound recreated original images using the methods like omitting of pronouns, emphasis on verbs, superimposition while omitting subordinated images, etc. In one of his book in 1910, Pound wrote the following sentences which can be regarded as his aim: Not only should the words, but the sprit in translation as
