英語專業(yè)畢業(yè)論文翻譯類論文正稿

1、 畢業(yè)論文（設(shè)計(jì)）Title:The Application of the Iconicity to the Translation of Chinese Poetry題 目:象似性在中國詩歌翻譯中的應(yīng)用學(xué)生 孔令霞 學(xué) 號 BC09150201 指導(dǎo)教師 祁曉菲 助教年 級 2009級英語本科（翻譯方向）二班專 業(yè) 英語系 別 外國語言文學(xué)系35 / 42外國語學(xué)院本科生畢業(yè)論文（設(shè)計(jì)）任務(wù)書孔令霞學(xué)號BC09150201專業(yè)班級英語本科翻譯二班畢業(yè)論文（設(shè)計(jì)）題目：象似性在中國詩歌翻譯中的應(yīng)用畢業(yè)論文（設(shè)計(jì)）的立題依據(jù)在導(dǎo)師的幫助下自主命題。主要容與要求1，綜合運(yùn)用的知識能力。2，研究方案

2、的設(shè)計(jì)（或論證）能力。3，研究方法和手段的運(yùn)用能力。4，查閱文獻(xiàn)資料能力。進(jìn)度安排 10月 20日 選題10月 20日 10月 30 日 接受指導(dǎo)老師的指導(dǎo)1 月 6 日 1月 20 日 擬定論文大綱1 月 21 日 2月 28 日 搜集、查閱、整理相關(guān)資料 3 月 1 日 3月 20 日 論文開題3 月 21日 4月 20 日 初稿審定4 月 21日 4月 30 日 第一次修改5月 1 日 5月 15 日 第一次審定5月 15日 5月 30 日 第二次修改5 月 30 日 6月 5 日 定 稿6月 5 日 6月 15 日 論文評閱小組評審論文（設(shè)計(jì)）6 月 10日 畢業(yè)論文（設(shè)計(jì)）答辯學(xué)生簽

3、字：指導(dǎo)教師簽字：年 月 日摘要索緒爾提出的語言符號任意性，近些年不斷受到質(zhì)疑，來自語言象似性的研究是最大的挑戰(zhàn)。語言象似性理論是針對語言任意性理論提出來的，并在不斷發(fā)展。象似性是當(dāng)今認(rèn)知語言學(xué)研究中的一個(gè)重要課題，是指語言符號的能指與所指之間的自然聯(lián)系。本文以中國詩歌英譯為例，探討象似性在中國詩歌翻譯中的應(yīng)用，從以下幾個(gè)部分闡述：（1）象似性的發(fā)展；（2）象似性的定義與分類；（3）中國詩歌翻譯的標(biāo)準(zhǔn)；（4）象似性在中國詩歌翻譯中的應(yīng)用，主要從以下幾個(gè)方面論述：聲音象似、順序象似、數(shù)量象似、對稱象似方面。通過以上幾個(gè)方面的探究，探討了中國詩歌翻譯中象似性原則的重大作用，在詩歌翻譯過程中有助于得

4、到“形神皆似”和“意美、音美、形美”的理想翻譯效果。關(guān)鍵詞：象似性；詩歌；翻譯AbstractThe arbitrariness theory of language signs proposed by Saussure is severely challenged by the study of language iconicity in recent years.The theory of iconicity is put forward in contrast to that of arbitrariness and has been developing gradually.Iconi

5、city, which is an important subject in the research of cognitive linguistics, refers to a natural resemblance or analogy between the form of a sign and the object or concept.This thesis mainly discusses the application of the iconicity to the translation of Chinese poetry. The paper is better descri

6、bed from the following parts: (1) The development of the iconicity; (2) The definition and classification of the iconicity; (3) The standards of the translation toChinese poetry; (4)The application of the iconicity to the translation of Chinese poetry, mainly discussed from the following aspects: so

7、und iconicity, order iconicity, quantity iconicity, and symmetrical iconicity. Through in-depth discussion of the above aspects, this paper could come to the conclusion that the iconicity is very important in the translation of poetry.It is conductive to reach the ideal effect of “the similarity of

8、form and spirit” and “thethree beauties”.Key words: the iconicity; poetry; translation外國語學(xué)院2013屆畢業(yè)論文Contents摘要.iAbstract.iiChapter 1 Introduction.1Chapter 2 An Overview of the Iconicity.32.1The Iconicity and the Arbitrariness.32.2 Definition of the Iconicity.42.3 Classification of the Iconicity5Chap

9、ter 3The Standards of the Translation to Chinese Poetry.63.1 The Similarity of Form and Spirit.63.2 The Three Beauties.73.3ThePrincipleoftheIconicity.7Chapter 4 The Application of the Iconicity to the Translation of Chinese Poetry.84.1 The Application of the Iconicity to the Translation of Chinese P

10、oetry on the Phonological Level .94.1.1 Sound Iconicity and its Translation on Chinese Poetry.94.2 The Application of the Iconicity to the Translation of Chinese Poetry on the TextualLevel.94.2.1 Order Iconicity and Its Translation on Chinese Poetry.94.2.2 Quantity Iconicity and Its Translation on C

11、hinese Poetry.124.2.3 Symmetrical Iconicity and Its Translation on Chinese Poetry.15Chapter 5 Conclusion.17Bibliography.18Acknowledgements.19The Application of the Iconicity to the Translation of Chinese PoetryChapter 1 IntroductionThe ancients left a lot of poetry in China which reflects the broad

12、and profound Chinese literature. With the development of Chinese literature, more and more scholars have been widely studied about the translation of Chinese poetry. Among the standards of the translation to Chinese poetry, the iconicity has aroused more and more concern. The theory of iconicity was

13、 first proposed by C.S.Peirce, founder of American practicalism and semiotics. Since then this theme has been discussed and studied by many famous researches like Jakobson, Haiman, and so on. Iconicity is one of the hotly-discussed issues at present in the linguistic and semiotic field. The theoryof

14、 iconicity is a great challenge to “Saussurean theory of arbitrariness” and a forceful complement as well. Iconicity in language falls into the category of cognitive linguistics,which is regarded as an essential part of cognitive linguistics. Iconicity is not only a challenge but also a complement t

15、o Saussures arbitrariness of linguistic sign. The discussion over arbitrariness and iconicity is a hot topic in the field of language research, which is actually a problem about the relationship of the signifier and the signified. In fact, the study of iconicity has been carried out in recent years,

16、 Many philosophers, semioticians and linguists have been concemed with such phenomenon in language for a long time. Iconicity can be found not only in natural language, but also in literary language, especially in poetry, which is said to have the richest presence of iconicity in all literary genres

17、, because poetry allows the most complex and innovative use of language on the typographical level(such as special use of fonts and spacing), on the sound level (such as sound symbolism, metre and rhyme), on the morphological and syntactic level (such as changes in regular word order and distancing)

18、, and on the textual level. This thesis attempts to analyze Chinese poetry and its translation from a more integrated and original perspective, an iconic perspective. MuchChinese poetry can be translated from the perspective of iconicity. The iconicity is an important feature of poetry and should be

19、 reproduced in its translation. In the application of the principle of iconicity to the translation of Chinese poetry, it is advisable to grasp the expressive features of iconic discourse in the source version and properly present them in the target version. This article through the following aspect

20、s: sound iconicity, order iconicity, quantity iconicity, symmetrical iconicity so as to realize the re-creating in the form as well as in the spirit. Chapter 2 An Overview of the IconicityThe theory of iconicity is regarded as a great challenge to Saussures arbitrariness of linguistic sign. The theo

21、ry of iconicity was first put forward by C.S.Peirce,the founder of American practicalism and semiotics. According to Peirce and Haimans classification of iconic signs, this paper gets six subclasses of iconicity: the sound iconicity, the distance iconicity, the order iconicity, the quantity iconicit

22、y, the graph iconicity and the symmetry iconicity.2.1 The Iconicity and the ArbitrarinessThe arbitrariness theory of language signs proposed by Saussure is severely challenged by the study of language iconicity in recent years. The view that the language sign is arbitrary is the core of Saussures li

23、nguistic theory.Saussure found the nature of language symbol but he left the link unexplained between the signifier and the signified. The theory of iconicity is put forward in contrast to that of arbitrariness and has been developing gradually. Iconicity, which is an important subject in the resear

24、ch of cognitive linguistics, refers to a natural resemblance or analogy between the form of a sign and the object or concept.Iconicity has been discussed hotly at present in the linguistic and semiotic field. The theory of iconicity is put forward in contrast to that of arbitrariness and has been de

25、veloping gradually.Meanwhile, it is a forceful complement to Saussures arbitrariness as well. Iconicity in language means that the form of the word or sign conveys the meaning of the word or sign. The theory of iconicity is regarded as a great challenge to Saussures arbitrariness of linguistic sign.

26、 The study of iconicity has been carried out in recent years. 2.2 Definition of IconicityThe theory of iconicity was first put forward by C.S.Peirce,the founder of American practicalism and semiotics. Since then this theme has been discussed and studied by many famous researchers like Haiman, Givon,

27、 and so on. The following are some of the representative definitions of iconicity. Haiman characterizes iconicity as a set of “signs whose meaning in some crucial way resembles their form”. He also claims that “l(fā)inguistic forms are frequently the way is because, like diagrams, they resemble the conc

28、eptual structures they are intended to convey”. The relationship between form and meaning is to a considerable extent motivated. Cognitive linguists maintain that linguistic structure is a reflection of cognitive or experiential structure. Newmeyer argues that iconicity “embodies the idea that the f

29、orm, length, complexity, or interrelationship of elements in a linguistic representation reflects of communicative strategy that the representation encodes.”Givon claims that any non-arbitrary relation in language qualifies an iconic relation. Therefore, some scholars usually conclude that iconicity

30、 is the similarity between the signifier and the signified. Language iconicity refers to the phenomenon of imitation between the sound, meaning,and form of language and what they signify in the real world. From the above-mentioned definitions, this paper can find that there is still no fixed definit

31、ion of iconicity so far. Although researchers have made many attempts, none of their definitions is so perfect as to explain all the phenomena in language,and to some extent, its application is dependent on the subjectivity of the researchers and scholars themselves. 2.3 The Classification of the Ic

32、onicityOutside world is the source of sign's meaning, according to Peirce, signs can be placed in to three classes.Peirce identifies three types of signs: icon, index and symbol. The three kinds of signs are different from each other in terms of the degree of arbitrariness. He also further divid

33、es icons into three types: images, diagrams and metaphors, which differ from each other according to the similarity between the sign and its objects. In accordance with these he concludes three types of iconicity: imagic iconicity, Diagrammatic iconicity and Metaphorical iconicity.Haiman further dev

34、elopsPeirces theory and regards diagrammatic iconicity as “a systematic arrangement of signs, none of which necessarily resembles its referent, but whose relationships to each other mirror the relationships of their referents.”Haiman further classifies diagrammatic icon into two types: isomorphism a

35、nd motivation.According to Peirce and Haimans classification of iconic signs, this paper gets six subclasses of iconicity: the sound iconicity, the distance iconicity, the order iconicity, the quantity iconicity, the graph iconicity and the symmetry iconicity. The iconicity can be found on the phono

36、logical level, lexical level, syntactic level and textual level. This thesis will analyze the four iconicity principles of them. Chapter 3 The Standards of the Translation to the Chinese PoetryThere are many standards of the translation to the Chinese poetry,and among them these three standards are

37、famous. “The similarity of form and spirit” or “the beauty of sense the beauty of sound the beauty of form” are the ideal standers and goals of translation, but the iconicity is the most important and effective rhetorical device in poetry creation.3.1 The Similarity of Form and SpiritIn the case of

38、literary text, the most optimal state is “the similarity of form and spirit”. However, it is very hard to both express the verve of the original texts and represent the form of the original texts in the translation practice. Sometimes, it is impossible to get the translation effects with “both form

39、and content integrated” And for exactly that reason, Mao dun propose spirit likeness and Fu lei stands for “spirit is much more important than form” if you cant have your cake and eat it, you should give up the “shape” and leave the “spirit”. Compared to other literary form, poetry has its unique fe

40、atures on the sound, word, sentence, text structure of its organization and selection.Poetry emphasized on the outside world imitation, through mimicking the outside world of sound, form and structure to realize its stylistic effects. 3.2 The Three BeautiesProfessor Xu Yuanchong proposes that “Three

41、 beauties”are the highest standards for poems translation. The “Three beauties”are the beauty of sense, the beauty of sound and the beauty of form. The “Three beauties” are an organic whole; none of them can be ignored.Its basic meaning is: Poetry translation in meaning, sound, form structure these

42、several levels, should use the corresponding andappropriate target languageto convey vividly the poetic charm. That will give us the beautiful enjoyment of art in vision, feeling and hearing.Professor Xu Yuanchong stressed that you should put your hand to the meaning, sound and rhymes these three as

43、pects to translate poetry successfully.Cognitively, theprinciple of “three beauties” is consistent with the iconicity of poetry. The “three beauties” and the “the similarity of form and spirit” are consistent. “Beauty of sound” “beauty of form” correlate “the similarity of form”; “beauty of sense” c

44、orrelates “the similarity of spirit”.3.3 The Principle of the Iconicity As “the similarity of form and spirit” or “the beauty of sense the beauty of sound the beauty of form” are the ideal standers and goals of translation, but how to attend it. Lu Weizhong thinks people should adopt the viewpoint o

45、f iconicity and throughout the translation of form especially form of extra meaning to achieve the ideal translation effect of “similarity of form and spirit”Among the types of literature, poetrys iconicity is the most prominent iconicity. Iconicity is the most important and effective rhetorical dev

46、ice in poetry creation. So, pay attention to recognize and analyze the applying of iconicity technique in the original poems when to translate the poetry that can be able to achieve the ideal goal of “similarity of form and spirit” The iconicity now prevails in the literary works, which is a fact ca

47、n not be negated.From the perspective of sign iconicity, scholars consider iconicity into literature, which reflects the real life in various ways.Iconicity is ubiquitous in literary language. It is emphasized as one of the constraints in poetic text structure.Chapter 4The Application of the Iconici

48、ty to the Translation of Chinese PoetryThis chapter is about the application of the iconicity to the translation of Chinese poetry. According to Peirce and Haimans classification of iconic signs, this paper gets six subclasses of iconicity: the sound iconicity, the distance iconicity, the order icon

49、icity, the quantity iconicity, the graph iconicity and Symmetry iconicity. The iconicity can be found on the phonological, lexical, Syntactic and textual level. This chapter will analyze the four iconicity principles in poetry just from the phonological and textual level with examples.4.1 The Applic

50、ation of the Iconicity to the Translation of Chinese Poetry on the Phonological LevelThis part is about sound iconicity and its translation on Chinese poetry. Sound iconicity usually includes onomatopoeia and sound symbolism, which belong to the category of imagic iconicity.4.1.1 Sound Iconicity and

51、 Its Translation on Chinese PoetrySound iconicity usually includes onomatopoeia and sound symbolism, which belong to the category of imagic iconicity. The purpose of sound iconicity can not only make the linguistic forms directly or indirectly imitate the sound of the objective world, but reinforce

52、the conveyance of the poetic mood. Now lets come to Li Qingzhaos poem:梧桐更兼細(xì)雨,到黃昏,點(diǎn)點(diǎn)滴滴。（清照,聲聲慢）Lin Yutangs translation of this part is as follows:And the drizzle on the kola nut keeps on droning: Pit-a-pat, pit-a-pat. In the original poem,“pit-a-pat, pit-a-pat” (點(diǎn)點(diǎn)滴滴) imitates the sound in real world

53、. It is the usage of sound iconicity which combines both onomatopoeia and sound symbolism. Actually, it is hard to express the artistic effect in its translation. But the translation skillfully uses the corresponding onomatopoeic intense melancholy. Therefore, this translation version of this poem i

54、s successful, for the original sound iconicity is retained and recreated in the English version. 4.2The Application of the Iconicity to the Translation of Chinese Poetry on the TextualLevelThis part is about the order iconicity, the quantity iconicity, and the symmetrical Iconicity. Iconicity of ord

55、er means that the order of linguistic form or text structure is a reflection of the conceptual or experiential order the form or text structure represents. The quantity of linguistic forms corresponds to the quantity of the referents in the real world or in our concept. The iconicity of symmetry mea

56、ns the information which in concept has the same degree of importance and parallel relationship tends to have symmetrical feature in expression.4.2.1 Order Iconicity and Its Translation on Chinese PoetryIconicity of order means that the order of linguistic form or text structure is a reflection of the conceptual or experiential order the form or text structure represents. There are various types of order which can reflect iconicity in poems, and what is to be discussed in this thesis are the temporal order and spat