帕尔默文化语言学视角下诗歌意象的英译研究--以《长恨歌》许渊冲译本为例

Translation of Images in Chinese Poems from the Perspective of Palmer's Cultural Linguistics

—A Case Study of Xu Yuanchong's Translated Version of Everlasting Regret

By Zhou Xiuling

In partial fulfillment of the requirement

For the B. A. degree

Department of English

School of Liberal Arts

Nanjing University of Information Science amp; Technology

May, 2018

Acknowledgements

First, I would like to extend my gratitude to my advisor Professor Wang Hui. In the writing of this paper, her valuable instructions and suggestions were very helpful. I’ve learned a lot from Prof. Wang’s persistence on the perfection of studies on linguistic, even things beyond academic study. From the preparing to the complement of this thesis, her professionalism and sense of responsibility were never absent. Without her guidance and encouragement, the fulfillment of this thesis would be much more difficult.

Four years of university life is coming to an end. Looking back over the courses of these years, teachers gave me a lot of guidance and help. Their rigorous scholarships, excellent style of work, and professional attitude have set a good example for me. I am more than grateful to all the Professors of School of Liberal Arts for their continuously help in my study life in Nanjing University of Information Science amp; Technology.

Contents

1. Introduction - 1 -

1.1 Image in poetry - 2 -

1.2 Palmer’s cultural linguistics and poetry translation - 2 -

2. Theoretical Framework - 3 -

2.1 Palmer’s cultural linguistics - 3 -

2.1.1 Image in Palmer’s cultural linguistics - 3 -

2.1.2 Palmer’s general principles - 4 -

2.2 The relationship among image, culture and language - 5 -

3. Translation of images in Everlasting Regret from the perspective of Palmer’s cultural linguistics - 6 -

3.1 Everlasting Regret and Prof. Xu Yuanchong - 6 -

3.2 Classification of images in Everlasting Regret - 7 -

3.2.1 Cultural-shared images in Everlasting Regret - 7 -

3.2.2 Cultural-specific images in Everlasting Regret - 8 -

3.3 Analysis on cultural Xu Yuanchong’s image translation in Everlasting Regret under Palmer’s cultural linguistics - 9 -

3.3.1 Perceptual equivalence - 9 -

3.3.2 Spatial equivalence - 11 -

3.3.3 Transformational equivalence - 12 -

3.3.4 Structural equivalence - 13 -

4. Conclusion - 14 -

References - 16 -

Translation of Images in Chinese Poems from the Perspective of Palmer's Cultural Linguistics

—A Case Study of Xu Yuanchong's Translated Version of Everlasting Regret

Zhou Xiuling

Department of English

School of Liberal Arts

Nanjing University of Information Science amp; Technology

Abstract: Poetry is the indispensable wealth of Chinese culture; it condensed the wisdom of Chinese people. Through the translation of Chinese poetry, the world can have a better understanding towards Chinese culture. Chinese traditional poetry is famous for its various images. In the process of poetry translation, the interpretation of images is the soul. Palmer's Cultural Linguistics is a theory about language, culture and image; among them, image is the core. The four basic principles of this theory play an important guiding role in the study of translation of poetry. This paper attempts to study the English translation of poetic imagery from the perspective of Palmer's cultural and linguistic theory.

Key words: Palmer’s cultural linguistics, image, Everlasting Regret, Xu Yuanchong, translation methods

摘 要：诗歌作为中华文化不可或缺的财富，凝练了我国人民的智慧与艺术。通过诗歌翻译，世界可以更好地了解中国文化。中国传统诗歌以意象丰富著称，在诗歌翻译中，意象的诠释可谓是其灵魂所在。帕尔默文化语言学理论是关于语言、文化和意象的理论，以意象作为其核心概念。这一理论下的四个基本原则对诗歌文化意象英译的研究有着重要的指导意义。本文尝试以《长恨歌》许渊冲译本为例，在帕尔默文化语言理论视角下进行诗歌意象的英译研究。

关键词：帕尔默文化语言学；意象；《长恨歌》；许渊冲；翻译方法1. Introduction

1.1 Image in poetry

Poets usually express their emotions through images. Imagery is the soul of poetry. Zhu Guangqian, a famous modern scholar, believes that imagery is objective, but not objective in a complete sense. Without personal experience, imagery would not exist. (朱光潜, 1997) Chinese traditional poetry has experienced thousands of years of development. Images in Chinese poetry contain not only the basic characteristics of all images, but also have their own unique style. In the context of Western poetics, the term similar to the concept of imagery is "Image", which was originally used in the fields of philosophy and psychology. With the advent of Imagistan in the early 20th century, it was gradually applied in the field of literary theory. Although "imagery" in Chinese traditional poetics is not exactly equivalent to "Image" in Western poetics, we can summarize the connotation of imagery in poetry as follows: First, imagery is the combination of subjective emotion and objective imagery. Secondly, the nature of imagery is metaphorical, and poets often don't directly express meaning and sustenance. Third, the imagery is the result of the unique aesthetic creation of the poet. Different poets can dedicate different emotions by using the same kind of image. The creation of poetic mood is not only focused on individual images. A poem is generally composed by several images under a unified theme and concept. Poets must not only be good at choosing and constructing images, but also should skillfully combine images to serialize and systematize images, thus constituting artistic conception.

1.2 Palmer’s cultural linguistics and poetry translation

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