樂府民歌與英語民謠的對比與翻譯研究

論文編號:YY743  論文字數:5915.頁數:20

摘要  

 “樂府”是我國古代掌管音樂歌舞的官署名稱，最早出現于秦代。樂府詩是收集和配樂演唱的歌辭。后來樂府詩發展成了一種專門的詩體，即樂府體亦稱樂府。代表漢代詩歌最高成就的是“樂府”中的民歌部分。樂府詩中采自民間歌辭稱為“樂府民歌”。樂府民歌是來自下層人民的集體性、社會性創作，通過人們口口相傳流傳開來，它代表了勞苦大眾的心聲，匯集了人民群眾的集體智慧。
 然而隨著工業化社會的發展，這一民間文化的傳承與發展并不樂觀。將我國樂府民歌與英語民謠進行對比，并探討樂府民歌的英譯方法，可以更加系統地了解樂府民歌與英語民謠，加深我們對二者的認識，得出兩種不同時間與地域的民間文化形式的異同，有助于了解二者的語言、文化與歷史人文差異，并從中借鑒有益經驗，指導樂府民歌的英譯工作。
 本文第一部份將對樂府民歌的起源和發展等進行系統的介紹。繼而對英語民謠的起源、收集、分類等進行整體講述。第三部份是樂府民歌與英語民謠的對比研究。從二者的語言特點、修辭手法等方面進行對比，得出二者的異同。最后主要從歸化與異化的角度對樂府民歌的翻譯進行探討。
 
 關鍵詞：樂府民歌， 英語民謠， 歸化， 異化

Abstract

 Yuefu refers to the music bureau firstly established in the Han Dynasty. It develops a unique poetic genre which is Yuefu poems, amongst which Yuefu Ballads are those collected folk oral traditions. They represent the highest achievement of the Yuefu poems throughout the Han Dynasty and Southern and Northern Dynasty. The Yuefu ballads not only appeal to both refined and popular tastes, but also profoundly influence the creation of many poets including Li Bai and Du Fu.
 However, along with the process of modernization and industrialization, nowadays fewer people know this precious oral heritage and their transmission will be surely blocked if no measures are taken in time. Translating the Yuefu ballads into English is an effective way to draw more attention from different people at home and abroad. Therefore, these precious folklore heritages which are at the edge of extinction can be rescued and the excellent Chinese folk culture can be carried out.
 English ballads are also folk literature with a long history. Of all the types of poetry, perhaps English ballad is the one making the most direct appeal to all classes of readers and listeners from the Middle Age to our days.
 Both the Yuefu ballads and the English Ballads are collected folk oral traditions, reflecting wisdom of the masses, revealing the rank and file’s living condition, presenting different cultures. Hence a contrastive study of these two kinds of ballads makes the translation more proper and the conveyance more precise.
 The significance of this thesis lies in a systematic introduction to the Yuefu ballads and English ballads and a contrastive analysis between them. More importantly, domestication and foreingnization will be discussed here to guide the translation of Yuefu ballads.
 This thesis starts with a systematic introduction to the Yuefu ballads. Then a brief introduction to the English ballads is made. After that comes the contractive study of these two ballads in different perspectives. When the overall understanding of the properties and characteristics of the ballads are shed light on, the discussions of domestication and foreingnization will be activated. The combination of domestication and foreingnization offers a solution to both the transference of the original and local flavor and the purpose of promoting Chinese culture. The ending part is conclusion.
 
 
 
Key words: Yuefu ballads, English ballads, domestication, foreingnization

Table of Contents

1. Introduction.1
2. The Yuefu ballads. 2
 2.1 The origin and the development. 2
 2.1.1 Han Dynasty 2
 2.1.2 The Southern and Northern Dynasty…………………………………. 3
3. The English ballads……………………………………………………………….4
 3.1 The popular ballads in the fourteen and fifteen century……………………. 4
 3.1.1 The origins……………………………………………………………. 5
 3.1.2 The collections…………………………………………………… .5
 3.1.3 The characteristics……………………………………………………. 6
 3.2 The revival in the eighteenth century………………………………………. 7
4. Contrastive analysis: The Yuefu ballads and English ballads…………………. .7
 4.1 Subject analysis……………………………………………………………… …7
 4.2 Style analysis………………………………………………………………. .9
 4.3 Structure analysis……………………………………………………………… 9
 4.3.1 Stanzaic Structure……………………………………………………… 9
 4.3.2 Dalogical Structure…………………………………………………… …9
 4.4 Rhetorical devices analysis………………………………………………… 10
5. The translation of the Yuefu ballads………………………………………… . . 11
 5.1 Domesticating translation and foreingnizing translation……………………  11
 5.2 The translation of Yuefu ballads…………………………………………… … .11
6. Conclusion……………………………………………………………………… …13
7. Bibiography……………………………………………………………………….14