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文学作品中无不充满了意象,诗歌更是如此。文学作品的翻译可视为文学艺术的再创作,在这个再创作的过程中,语言的转换很重要、意象的转换更重要。因此译者的作用不可小视,要进行整个意象的转换。本文以李敖和余光中两人对乔治·桑塔耶纳《致WP》第二节的译本为例,分析了意象格式塔在翻译中的再现。当然,两个译本各有所长,可以相互借鉴补充。翻译过程中,译者要从字里行间透露出来的信息,准确识解原文作者的写作意图,以及为此目的创造的意象格式塔,并在译文本中尽量充分地再现这个意象格式塔,从而达到等效翻译的目的。
Literary works are full of images, poetry is even more so. The translation of literary works can be regarded as the re-creation of literature and art. In this re-creation process, language conversion is very important and image conversion is more important. Therefore, the translator’s role can not be underestimated, to carry out the conversion of the entire image. This article takes Li Ao and Yu Guangzhong ’s translation of the second edition of George Santaye’ s “To WP” as an example to analyze the reappearance of the image formatting tower in translation. Of course, the two versions have their own strengths and can learn from each other to supplement. During the translating process, the translator needs to understand the original writer’s intention of writing and the image formatting tower created for the purpose, and try to fully reproduce the image formatting tower in the translated text to achieve the The purpose of translation.