摘要
中国古代诗人在诗歌创作中运用了大量的叠字,极大地增强了作品的艺术表现力。在对这样的作品进行翻译时,既要体现意、字、声、形、韵的重叠,又要体现叠字在原诗中的特殊作用,特别是其所蕴涵的深厚的文化及情感内涵。在处理叠字翻译时,应忠实于原作,以文从字顺的直译为主,其次是意译。
Ancient Chinese poems are often characteristic of duplication, which to a large extent adds to the artistic expressiveness of poems. Translating such poems, the translator should reproduce not only the rhetoric duplication, but also the cultural and emotional connotative meaning conveyed by the duplication. From an analysis of reduplication in Ospreys to make a study, quite a few duplication translations by some well - known persons are analyzed on the basis of theory of translation aesthetics so as to reach the conclusion that the original poems should be adhered to while dealing with duplication translation, and that literal translation method should come fist and free translation second.
出处
《南昌大学学报（人文社会科学版）》
北大核心
2007年第5期130-133,共4页
Journal of Nanchang University(Humanities and Social Sciences)
关键词
叠字翻译
《诗经·关雎》
翻译美学
直译
意译
duplication translation
Ospreys
translation aesthetics
literal translation
free translation
