对庞德翻译李白诗的解构剖析-外国语言学及应用语言学专业论文.docxVIP

IV IV 摘 要 艾兹拉·庞德，美国著名的诗人、诗歌评论家和意象派诗歌的主要代表，于 1912 年在美 国东方研究专家厄内斯特·费诺罗萨遗稿的基础上选译了十八首中国古诗，其中十一首为唐朝 伟大的诗人，素有“诗仙”之称的李白所作。庞德于 1915 年出版了该译诗集《神州集》， 又 称《华夏集》。自发行之日起，备受中西方文学界瞩目，然而对其的评论却大相径庭：西方 学者认为《神州集》奠定了庞德作为最伟大诗人之一的地位；而中国学者却多数指责他背离 了原作及原作者的本意与其中蕴含的中国文化精髓。 自二十世纪中叶以来，翻译评论家们对庞德的中诗翻译从之前一味的“忠实”传统翻译 理论逐渐过渡到更为宽容的态度上来，采用了不同的翻译理论来解读庞德对中国古诗的译 作。比如奈达的“形式对应”理论、汉斯弗·美尔的目的论原理、接受美学的角度译者的主体 间性、翻译改写理论以及译者主体性角度等。而还未有人系统的从解构主义翻译理论的基本 观点出发，重新审视庞德翻译策略的选择及其背后的文化、政治等方面的深层原因。因此， 本文试从解构主义理论中的原作与译作的“共生”关系；译者在翻译实践当中的主观创造性； 以及非本族中心主义的翻译观点出发，对《神州集》的翻译策略、技巧以及在庞德背后所体 现出的意识形态倾向进行分析。 庞德从中国古典诗歌中吸取了诸如比兴手法，叙事抒情等中式风格，进一步丰富并发展 了他倡导的意象主义诗歌及后来的漩涡主义文学。他的历史主义、现代主义、国际主义和比 较文学的方法奠定了其在文学创作及诗歌翻译领域的巨大成就，同时也激起了中外学界的激 烈辩论。 关键词：解构主义 “共生”关系 创译 非本族中心主义 PAGE PAGE VI Abstract Ezra Pound, the prestigious American poet, poetry critic and one of the founders of the imagist poetry school, selected carefully in 1912 nineteen Chinese poems among the scripts left by , the American scholar who has made contributions on the study of eastern culture. Of these nineteen poems, eleven of them were written by Li Bai, dubbed “the God of Poetry”, who was one of the greatest poets in the Tang Dynasty and along the whole history of Chinese literature. In 1915, Pound published his work of the translation of Chinese poems with the name of Cathay and received surprisingly contrary feedback from the eastern and western world. In the west at that time, most of the scholars in the literary field think highly of Cathay which won Ezra Pound the reputation as one of the greatest poets. Back in China, on the contrary, nearly all Chinese literary scholars criticized it relentlessly for its unfaithfulness to the original Chinese poems. Since the second half of last century, there has been a switch in the translation trend in Chinese literary world, featuring multi-standard study of translation, which has brought rather more positive attitudes toward Pound’s translation of Chinese classical works. These scholars lay stress not solely upon the traditional t