从符号学角度看视觉诗翻译.docVIP

从符号学角度看视觉诗翻译 ------以《l（a》两个译本为例 摘 要：现代语言学及其相关学科的发展对翻译理论与实践产生了深远的影响。以社会语言学和符号学为基础的社会符号学翻译法, 强调翻译是一种跨语言、跨文化、跨社会的交际活动, 翻译的过程就是在译语中寻求功能对等的过程,在意义和功能上尽量做到忠实于原语。视觉诗是非常独特的语言表达方式, 其语言意象建立在两级符号系统上。这就是说有两套能指+所指关系。除了语言的翻译，视觉形式的转换往往影响到它的译文的成功与否。因而也常常成为翻译中的一个难点。本文通过对《l（a）》与它的两个译本进行分析比较，从符号学角度考察原语文本与译本之间的信息差，初步分析翻译中的信息差产生的原因。 关键词：符号学 视觉诗 诗歌翻译 Abstract: The development of modern linguistics and its related disciplines has exerted far-reaching influence on translation theory and practice. The socio-semiotic approach, based on socio-linguistics and semiotics, stresses that translation is a cross-cultural, cross-social, and cross-linguistic communicative activity, and that the process of translation is one that searches for functional equivalence in the target language, in order to be as faithful as possible to the source language both in meaning and in function. Visual poetry is a very peculiar form of expression of a language whose image is established on two semiotic systems with two sets of the signifier and signified. Switching of visual elements as well as language translation greatly influences the quality of translation and, therefore, visual poetry often becomes a difficult point in translation. The author in this paper tries, from the semiotic perspectives, to analyze and compare the visual poem l(a by American poet E. E. Cummings and its 2 versions by observing information disparity between source text and target text and discuss further the cause of information disparity in the translation. Key words: semiotics visual poem poetry translation 引言 诗歌语言必须违背日常语言的常规, 使其非自动化(deautomatized)、陌生化(estranged)、以及非熟悉化(defamiliarized) , 即前景化[1]。其目的是用一种背离常规表达方式引起读者或听者对诗歌语言更多的注意, 使他们感到新鲜、惊异、陌生, 从而产生强烈的美感。美国诗人卡明斯( E. E.Cummings ,1894 - 1962) 是本世纪最有影响的诗人之一,在他的诗中,前景化得到了集中的体现，而《l（a》就是其中非常具有代表性的经典之作。它打破了常人的欣赏习惯, 为了将诗歌与绘画结合起来，经常违反语法和句法,不遵循拼写、标点符号和间隔的规则,非常规使用诗歌的行、节等形式和其他许多反常手段,要求读者对运动的文字与静止的视图进行同步“认读”，从而获得多种感官得到愉悦。但是，由于文字成为构图的重要组成部分，对其进行任何改变都会影响原有的整体美感，因此，翻译《l（a》是对译者极大的挑战。 语言和文学