英語(yǔ)-“三美論”角度下宋詞英譯的研究-以蘇軾詞為例

[1]59.Itisreflectedinthegrammaticalfunctionandformalfunction,makingthesentencecatchytoreadandmoreexpressiveoftheauthor’sfeelings.Atthesametime,thecorrectuseofsyntacticpatternsinpoetrycanmakepoetrymorepowerful,expressiveandpersuasive.Therefore,syntacticpatternsareessentialforformalbeautyinpoetrytranslation.IntheprocessofEnglishtranslationofpoetry,weshouldpayattentiontothebeautyofform,givepoetrycharm,stimulatereaders’interestinreading,andbetterdisseminatepoetry.15ChapterFiveRelevancetotheStudyofThreeBeautiesTheorytoEnglishTranslationofSongCi5.1EnhancingtheAestheticsenseofPoetryTranslationBystudyingtheembodimentoftheThreeBeautiesTheoryinthetranslationofSongCiandEnglish,theaestheticfeelingofEnglishpoetrytranslationcanbeimproved.ThetranslatorusesMr.XuYuanchong’sthreemethodsofbeautyinsound,beautyinsenseandbeautyinformtotranslatepoetry,whichcanreproducetheaestheticfeelingofpoetry.TheresearchshowsthattheperspectiveofstudyingthetranslationofSongCipoetrynotonlyreflectstheaestheticfeelingandculturalvalueofpoetry,butalsohasastrongexplanatorypowerandhistoricalandrealisticsignificanceintermsofspreadingSuShi’sCi-poetry,thesplendidculturalheritage,allovertheworld.REF_Ref25976\r\h[1]685.2PromotingtheDevelopmentofPoetryTranslationWiththeincreasinglycloseinternationalexchanges,culturalexchangesarealsoveryimportant.AncientChinesepoetrybringsusbeauty,enrichesouremotions,anditsbeautyisdeeplyrootedintheheartsandrefreshing.Beautyinsound,beautyinsenseandbeautyinformofThreeBeautiesTheorycancorrectlyguidethetranslatortotranslatetheoriginalimage,rhymeandformofChineseclassicalpoetry.Mr.XuYuanchong’sThreeBeautiesTheorypromotedthespreadofexcellentChineseclassicalpoetryandenabledwesternreaderstoappreciatethecharmofChineselanguageandculture.Asatranslator,weshouldkeepupwithprofessorXuYuanchong,learntheexcellenttranslationattitudeandmeticulouspracticespirit,improvetheirtranslationpracticeability,enrichtheirtranslationtheoryknowledge,withexcellenttranslationtheoryknowledgeguidetranslationpractice,constantlyaccumulateexperiencefromthetranslationpractice,canfinallyreachtheidealstate.ThecomprehensivestudyofXuYuanchong’stranslationtheoryofThreeBeautiesTheoryhasfar-reachinghistoricalsignificancefortheinheritanceanddevelopmentofChineselocaltranslationtheory,andalsohasgreatpracticalsignificanceforthetranslationpracticeunderthebackgroundof“goingout”ofChineseculture.16ChapterSixConclusionInthepreviouschapters,thisthesismainlyexpoundedtheembodimentofXuYuanchong’sThreeBeautiesTheoryinSuShi’spoetry,andprocessedthemintermsofbeautyinsound,beautyinsense,andbeautyinform.Thischaptersummarizestheentirestudy.Inthischapter,themainfindingsandlimitationsofthisstudywillbementioned,somerecommendationswillbemade,andfutureresearchdirectionswillbeproposed.Forthousandsofyears,thecharmofclassicalChinesepoetryhasattractedmanyscholarsandtranslatorstoexploreitingreaterdepth.Withtheincreasinglycloseinternationalexchanges,culturalexchangesarealsoveryimportant,ancientChinesepoetrybringsusbeauty,enrichesouremotions,anditsbeautyrefreshes.ThreeBeautiesTheorycancorrectlyguidethetranslatortotranslateclassicalChinesepoetryintoitsoriginalimagery,phonologyandform.Mr.XuYuanchong’sproposalofThreeBeautiesTheorypromotedthedisseminationofexcellentclassicalChinesepoetryandenabledWesternreaderstoappreciatethecharmofChineseandChineseculture.Astranslationscholars,weshouldfollowProfessorXuYuanchong,learnfromhisexcellenttranslationattitudeandmeticulouspracticalspirit,improveourtranslationpracticeability,andenrichourtranslationtheoreticalknowledgeOnlybyusingexcellenttranslationtheoreticalknowledgetoguidetranslationpracticeandcontinuouslyaccumulatingexperiencefromtranslationpracticecanwefinallyreachtheidealstate.Inthetranslation,theauthorreferredtoothertranslationsandtriedtofollowThreeBeautiesTheory,tryingtoensurethebeautyofshapeandsound,buttheconveyanceofartisticconceptioncouldnotfullypresenttheItalianbeautyoftheoriginalwork.SongwordtranslationitselfisaprocessofreproducingthebeautyofSongwords,whichisthere-creationofbeauty.Therefore,asaqualifiedtranslationaestheticsubject,thetranslatormusthavesufficientaestheticability,sensitivelanguagesensibility,richaestheticimagination,accurateaestheticunderstanding,positiveaestheticemotionalmanipulationandaestheticcreativity.Inordertoenrichthetranslationstudybothathomeandabroad,itishopedthatotherresearchesbasedonThreeBeautiesTheorycanstillgofurther.17Note①XuYuanchong:XuYuanchong,male,Hannationality,fromNanchang,Jiangxi.HegraduatedfromtheDepartmentofForeignLanguagesofSouthwestUnitedUniversityinhisearlyyears,wasadmittedtotheInstituteofForeignLiteratureofTsinghuaUniversityResearchInstitutein1944,andbecameaprofessoratPekingUniversityin1983.Hehasbeenengagedinliterarytranslationformorethan80years,coveringChinese,English,Frenchandotherlanguages,focusingontheEnglishtranslationofancientChinesepoetry,formingthemethodandtheoryofrhymingpoetrytranslation,andisknownas“theonlypersonwhotranslatespoetryintoEnglishandFrench”,aprofessoratPekingUniversityandatranslator.19Bibliography[1]任夢(mèng)雨.“三美論”框架下宋詞英譯中的美感再現(xiàn)——以蘇軾詞為例[D].西安：西安理工大學(xué)，2019：59-68.[2]譚新紅.蘇軾詞全集[M].武漢：崇文書局，2015:100-226.[3]Nida.A.U.Language,CultureandTranslation[M].Shanghai:ShanghaiForeignLanguageEducationPress,2001:117.[4]ChengGuo.TheApplicationofDynamicEquivalenceanditsLimitationsinTranslationforPoetry

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