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在郑燕虹“肯尼斯·雷克思罗斯的‘同情’诗歌翻译观”的基础上全面深入地讨论肯尼斯·雷克思罗斯的诗歌翻译思想。郑文认为“同情”是雷氏诗歌翻译观的要旨,但没有指出是什么要素支撑着“同情”观,因此对“同情”的认识有欠深刻。从“诗人即译者”和“罗马诗译论”两篇文章的系统观点来看,雷氏的“同情”诗歌翻译观是建立在“灵感”和“平等”这两个要素上的。作者和译者都是靠灵感进行诗歌创作和翻译的,他们之间其实没有主与仆的区别。非但如此,在雷氏看来,创作也是一种翻译,由此作者也成了译者,译出语也化为译入语。随着作者和译出语概念的消解,译者之间和译语之间实现了平等。雷氏的观点改变了传统译学的理论格局,具有创新意义。
On the basis of Zheng Yanhong “Kenyon Rexroth’s sympathetic poetry translation concept ”, this article discusses Kenneth Rexroth’s poetry translation theory in an all-round way. Zheng Wen holds that “sympathy ” is the essence of Leh ’s poetry translation view. However, it does not indicate what elements support the view of “sympathy ”, so there is not enough understanding of “sympathy ”. From the systematic point of view of the two articles “The poet is translator” and “roman poetry translation theory”, Ray’s “compassion” poetry translation view is based on “inspiration” and “equality” "On these two elements. Both the author and the translator rely on inspiration for poetry writing and translation, and there is virtually no difference between the master and the servant. Not only that, in Ray’s view, writing is also a kind of translation, the author has also become a translator, translated into the language also translated into. With the elimination of the concept of the author and the translation of the target language, equality is achieved between the translator and the target language. Ray’s point of view has changed the traditional theoretical pattern of translation studies, with innovative significance.