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诗歌与绘画之间的亲缘关系决定了绘画性是诗歌和诗歌翻译的内在特征,绘画性是诗歌翻译中必须考虑的重要因素。梁宗岱的法译《陶潜诗选》整体上是一个将绘画性融于诗歌翻译的成功案例。除绘画般的视觉效应之外,梁译陶诗的绘画性主要体现在两个方面:一是对中西方绘画手法、技法和原理的借用;二是对绘画思想和理念的借鉴。前者突出体现在对空间表现手法和原理的借用上,后者主要在于具象化的手法和效果。梁宗岱个人的绘画品鉴能力,诗歌创作风格,“纯诗”创作理念,以及诗歌翻译观都是其译诗绘画性的根源。
The relationship between poetry and painting determines that painting is the inherent characteristic of poetry and poetry translation. Painting is an important factor that must be considered in poetry translation. Liang Zongdai’s French translation of “Tao Qian’s poetry anthology” is a success story of integrating painting with poetry translation as a whole. In addition to the visual effects of painting, the painting of Liang’s poems is mainly reflected in two aspects: one is the borrowing of the techniques and principles of painting in the West; the other is the reference to the ideas and concepts of painting. The former is mainly reflected in the borrowing of the methods and principles of space expression, the latter mainly lies in the techniques and effects of figurativeness. Liang Zongdai’s personal painting ability, poetic style, “pure poem ” creative concept, as well as the poetic translation concept are the root causes of his poems.