导　　师： 周建新

学科专业： 050201

授予学位： 硕士

作　　者： ;

机构地区： 华南理工大学

摘　　要： 《神州集》是埃兹拉﹒庞德最为重要,同时也最富争议的作品之一,自其1915年问世以来一直深受国内及英美学界的极大关注。本文从庞德对“意象”概念所作三次定义入手,重点考察了庞德译文中的意象与中诗原文中意象的区别和联系。 文章首先简要地介绍了《神州集》的基本情况及庞德所提“意象”概念,从影响研究的角度分析了中西方学术界对《神州集》的不同侧重:英美学者多关注该作品的西式风格,而中方学者更关注中诗原文的影响。接着以书中具体意象为研究对象,通过分析庞德译文中意象的来源与功用,试图阐明庞德意象观与中国古典诗学在此书中的不同表现和内在联系。 一方面,《神州集》保留了中国古诗原文中的突出意象,即以战场、花园及自然山水为背景的三大主题意象。东方式的景物是现当代西方与此书距离感的来源;同时,庞德翻译该书时西方正处于第一次世界大战期间,他对上述三类意象的选择与处理反映了他对自身所处时代的理解和所受的影响。他选择的情感主题意象与时代相契合,这是当时读者对此书亲切感的来源。从这一意义上说,庞德在《神州集》中发现并保存了汉诗原文的主体意象。另一方面,庞德在翻译过程中也依据自身原有的诗学积累和自身的想象创造了一些意象,主要包括三类:“佳色”意象/(images with“good color”/)、并置意象以及“神州”意象。“佳色”意象可追溯到印象主义对庞德的影响,并置意象应源于庞德对意象主义传统诗艺――并置手法的传承和发扬,而“神州”意象则来自庞德对东方古国的倾慕和借古喻今的救世意图。因此,可以说庞德在《神州集》中创造了这些体现庞氏风格的意象。总之,从其来源看,《神州集》中的意象是中西合璧的产物,而非单纯地从原作中移译或庞氏自己的创造。 此外,通过对具体个案进行分析、对比,本文还阐述了庞德所译意象的不同功用。一方面,庞德译文中的意象和汉诗原文中的相同意象一样,同样表现了精确呈现事物与含蓄表达感情的效果。这既是中国古典诗歌对意象作用的标准要求,也是庞德自己对“意象”所要求的意象主义式效果。另一方面,庞德强调或调整了一些意象,它们表现了内在动力和具有向心关系的意念辐射群。这些意象揭示了庞德“意象”概念的变化,即他此时对“漩涡主义”的侧重和发展。因此,从其功用上看,《神州集》中的意象既有中国古典诗学要求的功用,亦达到了庞德自身的诗学观念对意象作用的要求,体现了庞德的诗学倾向。可以说《神州集》超越了时空与民族文化的界限,是中西诗学结合的结果和成功典范。 研究《神州集》意象中的中国及庞氏因素具有重要意义。针对该文集中的中西影响,研究界一直存有争议,因此本文首先是对解决此类争端的一个尝试,使读者对文本中意象的诗性美有更深刻了解,更能使读者明确庞德对中国古诗不同方面的接受和拒绝。此外,通过引入社会环境和庞德个人诗学发展的影响,笔者希望本文所作的尝试能使《神州集》意象的研究更加全面和透彻。 Cathay /(1915/), one of Ezra Pound’s most important and controversial works, has invited and continues to invite great attention from Chinese and Anglo-American academics. This dissertation starting with Pound’s three notions on“Image”explores the differentiations and relations between the images in Pound’s version and in the original Chinese texts. At first, this thesis gives a brief introduction to Cathay /(1915/) and Pound’s notions on“Image”, and then from the view of influences it generalizes the studies on the imagery of Cathay in Sino-Western academe. As a rough conclusion, the author found that Anglo- American scholars tend to pay more attention on the Western elements of this work while Chinese academicians pay their attentions on the influences from the original Chinese poems. Taking detailed images of Cathay as object of research, the thesis systematically analyzes origins and functions of the imagery in Cathay rendered by Pound, and tries to illustrate the different exhibitions of and the inner relationship between Pound’s and classical Chinese ideas on“Image”. On one hand, Cathay preserves most prominent images from the original Chinese texts, i.e., the three thematic types of images setting against the backgrounds of battle fields, gardens as well as mountains and rivers. Oriental objects and scenes within these groups are the origin of remoteness felt by the Western readers. Meanwhile, when Pound worked on this anthology the West was experiencing a shattered life caused by the First World War, so his selection and rendering is also his understanding and presentation for that age. Such echoing between these sentimental themes and the age generates the familiarity felt by Western readers at that time. In this sense, it is legitimate to insist that Pound finds and preserves the principal images of Cathay from the original Chinese texts. On the other hand, this poet-translator creates some images originating from his imagination and previous accumulation. Generally speaking, there are the images with“good color”, the images in juxtaposition and the image of the empire Cathay presenting Pound’s creation. The first group can be traced back to the influences from the Impressionism, the second should be from the direct inheritance of the Imagism, and the last one is from Pound’s admiration towards the Orient and his attempts of absorbing the remote culture to save the tottering Western civilization. Thus it can be claimed that Pound creates these images with his own traits. In another word, from the perspective of its origins, the imagery of Cathay is a Sino-Western combination instead of faithful translation or pure Poundian creation. Furthermore, through the analysis and comparison in particular cases, this thesis illustrates the functions of the Imagery in Pound’s version. On one hand, Pound’s images achieve the same effects as their Chinese counterpoints do, i.e., precise presentation and suggesting emotions. These functions are a criterion for images in both classical Chinese poetry and Pound’s Imagism. On the other hand, in Pound’s emphasizing or adjusting, some images in Cathay can impress readers with the implied energy and radiant cluster of endocentric relations. Revealing the changes of Pound’s notions on“image”, these images should be viewed as Pound’s emphasis on and development towards his Vorticism. Therefore, from the view of its functions, the imagery of Cathay transcending temporal and spatial dimensions as well as national and cultural boundaries is an exhibition of Pound’s poetic inclinations and a paragon of Sino-Western production as well. It is of significance to inquire Chinese and Poundian ingredients in the imagery of Cathay. Studying the images in Cathay rendered by Pound is an attempt to settle many disputes concerned with Sino-Western influence on this anthology. Through the analysis on origins and functions of the imagery in Cathay, the author of this thesis tries to provide readers a better opportunity to approach the poetic beauty of the images and to clarify Pound’s acceptance and rejection for some factors in classical Chinese poetry. Besides, the social conditions and Pound’s personality are combined in the exploration of the imagery in Cathay so that more comprehensive insights might be gained in the process. It is hoped that the attempt made in this thesis may to some extent prove beneficial in Poundian studies.

关 键 词： 意象 神州集 来源 功用

分 类 号： [H315.9]

领　　域： [语言文字]