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中南大学学报(社会科学版)
ZHONGNAN DAXUE XUEBAO(SHEHUI KEXUE BAN)

2015年06月第21卷第3期
   
本文已被:浏览2044次    下载964次   
文章编号:1672-3104(2015)03-0262-05
 
《松花笺》“拆字法”的生成与审美诉求——以“三犬之风”为中心
 
任增强
 
(中国石油大学(华东)海外汉学研究所,山东青岛,266555)
 
摘  要: “三犬之风”是洛威尔与艾斯珂汉诗译本《松花笺》对李白诗句中“飙”字的译法,此一译法便为“拆字法”,即将单个汉字加以拆解,厘析各组字偏旁的意象特质,进而赋予其以诗性言说。中外学界对《松花笺》的褒贬不一,“拆字法”是纷争之焦点。对“拆字法”的非难,是未曾考量彼时美国诗界向东方寻求创作资源的时代吁求,忽视了西方“语音中心主义”传统的置入。“拆字法”发明出汉诗中某些汉字的诗意潜流,彰显出汉诗的审美空间,但亦会引致一些翻译败笔。
 
关键词: 三犬之风;《松花笺》;拆字法;语音中心主义
 
 
The three dog’s wind: on the character-splittingof Fir-flower Tablets
 
REN Zengqiang
 
(Institute for Overseas Sinology, China University of Petroleum, Qingdao 266555, China)
 
Abstract: The three dog’s wind as a translation of the character ‘飙’ in Li Po’s poem is a case in point of character-splitting, which as a technique of translation is adopted in Fir-flower Tablets, but dismissed as verbose by both English and Chinese critics. The dismissive critique on character-splitting is partial due to the neglect of the American context and western phonocentrism. As a translation device, character-splitting is instrumental in rendering the poetic meanings of some characters in Chinese poetry, though it does not work for all.
 
Key words: three dog’s wind; Fir-flower Tablet; character-splitting; phonocentrism
 
 
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