格式塔视角下古诗“蚕”“桑”意象的英译之语言学研究

本文是一篇语言学论文，本研研表明，关于语言层面的和谐，译者需要再现原蚕桑诗的词义、韵律、修辞等语言元素；关于美学层面的和谐，译者需要保留格式塔质，如意象所蕴含的情感、轮廓及氛围，使目的语读者享受原诗呈现的审美体验；关于部分与整体的和谐，译者需要再现格式塔整体意象，使各部分恰当地融入整体，而非语言成分的简学对应。最后，分析译者的积极操作包括想象机能和适应机能，以及蚕桑意象再现过程中所采用的如增词、转化、替换和省略翻译策略。

Chapter One INTRODUCTION

1.1 Research Background
Chinese classical poetry is widely recognized as a gem of Chinese literature, and image  is  the  soul  of  poetry  appreciation.  To  a great  extent,  the  English  translation  of classical poetry is the transmission of the image. So whether image can be appropriately conveyed and interpreted serves as a key to embodying the flavor of poetry in English translation of Chinese classical poetry. 
China is the birthplace of the world sericulture. Sericulture has penetrated into all aspects of people’s production and life. It has accumulated cultural elements related to silkworm  and  mulberry  such  as  poetry,  myths,  customs,  etiquette,  costumes,  art  and trade,  and  gradually  formed  a  unique  sericulture.  Since  Zhang  Qian’s  diplomatic mission to the western regions in the Han Dynasty, sericulture has been regarded as the source and solid foundation of the Silk Road culture, which was the earliest carrier of cultural exchanges between China and Western countries. These can be fully reflected in  the  Chinese  classical  poetry  related  to sericulture.  There  are  numerous  Chinese poetries  associated  with  sericulture  and  the  images  of  “silkworm”  and  “mulberry”  in these poetries carry rich connotations of Chinese traditional culture, which are not only an important material for us to study the ancient social life but also major characteristics of  literary  works.  At  the  same  time,  it  has  a  positive  significance  to  the  construction, development  and  evolution  of  Chinese  classical  poetry  and  even  the  whole  Chinese literature and culture. In addition, with the construction of the present “Belt and Road” strategy, sericulture has shone in the implementation of the strategy, which has a very important practical significance to set up and enhance cultural self-confidence, promote China’s traditional culture of “going out” and build a harmonious and win-win regional cultural environment.
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1.2 Purpose and Significance of the Study
This  thesis,  by  analyzing  different  translation  versions  of  the  “silkworm”  and “mulberry” images in Chinese classical poetry, attempts to provide some suggestions on how  to  actualize  the  “silkworm”  and  “mulberry”  images  mentally  and  linguistically during the  process  of  translating  poetry,  possibly  by  analyzing  the  translator’s  active operation and studying the translation strategies applied in the image-G actualization of “silkworm”  and  “mulberry”  images  in  the  English  translation  of  Chinese  classical poetry. 
On the whole, the significance of this study is mainly reflected in three aspects.
Firstly,  as  far  as  the  collection  of  the  published  and  opened  written  materials  is concerned,  great  achievements  have  been made  in  the  studies  on  images  in  the translation of Chinese classical poetry; however, there are few systematic studies on a specific image  in  the  English  translation  of  Chinese  classical  poetry.  Therefore,  this study may make up for the deficiencies in this area. 
Secondly,  given  that  using  a  Gestalt  framework  to  analyze  the  “silkworm”  and “mulberry”  images  is  still  not  mature,  and translators  cannot  get  enough  guidance  on image  transmission  from  previous  studies,  it  is  of  great  significance  to  explore some instructions  with  practical  use  in  the  conveyance  of  image  in  translation  of  Chinese classical  poetry.  This  research  can provide some  inspiration  for  future  researchers  and some reference for future translation studies and creation. 
Thirdly, since the sericulture is long standing and well established, and the images of “silkworm” and “mulberry” in Chinese classical poetry contain rich connotations of Chinese traditional culture, this study on image transmission is also helpful to promote Chinese traditional culture to Western countries and make foreigners know more about Chinese culture.
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Chapter Two LITERATURE REVIEW

2.1  Previous  Studies  of  Image  in  the  Chinese  Classical  Poetry Translation
This section is divided into two parts. It reviews the domestic and foreign-related research of image in the Chinese classical poetry translation.
In recent decades, there have emerged lots of English versions of Chinese classical poetry  which  are  well  received  in English countries,  and  those  Chinese  scholars  also obtained fruitful  achievements  in  the  image  of  Chinese  classical  poetry  translation. In what  follows,  some  conclusions  can  be  drawn  below  through  the  analysis  and classification.
Firstly, there is an emphasis on the importance of translating images in the poems.
Wen Xianliang (1982) proposed that image and the rhythm that strengthen artistic effects  are  the  ways  to  maintain  the  true  color  of the  English  translation  of  Chinese poetry.  He  stressed  that  the  charm  of  poetry  lies  in  the  image.  This  had  an  important influence  on  the  Chinese  translation  circles.  Professor  Xu  Yuanchong  (1993)  put forward “Three Beauty” and “Three Transformations”, which provided some guidance to  deal  with  the  images  in  the  English  translations  of  poetry.  Xie  Tianzheng (1999) pointed  out  that  as  far  as  literary  translation  is  concerned,  we  should  try  to  keep  the cultural images in the original text. Of course, the loss and distortion of cultural images is inevitable.
Secondly, some studies are partially or totally concerned with the concept of image translation. Lin Ying (2006) did the research on the loss and retrieval of image. From the reason and philosophical basis of image loss, the interpretation of “primary image”, “secondary image” and “aesthetic image” were made. Hu Dongming (2009) discussed the image equivalence in the translation of Chines poetry. Jia Hongxia (2014) dealt with the  cultural  image  in  the  English  translation  of  Chinese  poetry  based  on  the  frame semantics. 
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2.2 Previous Studies of “Silkworm” and “Mulberry” Images in the Chinese Classical Poetry
The  research  on  “silkworm”  and  “mulberry”images  in  the  Chinese  classical  poetry mainly focuses on the cultural meaning. 
Xu Zuoming and Sun Jingya (2011) classified the sericulture poetries according to their theme and explored their value. Qiu Kui (2008) made an analysis of the image of mulberry  and  its  cultural  connotations  in  Shijin·Wei  Feng.  Wang  Ping  (2008) systematically sorted out the mulberry imagery and symbolic meaning in the collection of  mulberry  poems  in  the  past  dynasties,  and  proposed that mulberry  is  no  longer  a mulberry  in  natural  sense,  but  a  symbol  of  ancient  primeval  life  and  fecundity,  and sweet and sad love between men and women. Liang Gaoyan (2012) studied the cultural image of mulberry in Regional Songs from the Book of Poetry from the cultural ecology perspective and came to the conclusion that the mulberry cultural image is pregnant in meaning. She discussed the cultural annotations of mulberry image under the theoretical guidance  of  cultural  ecology  and  explored  the  historical and  dynamic process  of  how mulberry image has changed and developed. 
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Chapter Three THEORETICAL FRAMEWORK .............................. 15
3.1 Difference between Imagery and Image Gestalt .......................... 15
3.2 Three Principles in Mental Actualization ......................... 17
Chapter  Four  TRANSFERENCE  OF  “SILKWORM”  AND  “MULBERRY” IMAGES  IN  THE  ENGLISH  TRANSLATION  FROM  THE  PERSPECTIVE  OF GESTALT THEORY ........................... 25
4.1 Introduction of “Silkworm” and “Mulberry” Images in Chinese Classical Poetry................25
4.2 Mental Actualization of “Silkworm” and “Mulberry” Images in Translation ... 27
Chapter Five CONCLUSION .......................... 53
5.1 Major Findings ........................ 53
5.2 Implications........................ 55

Chapter Four TRANSFERENCE OF “SILKWORM” AND “MULBERRY” IMAGES IN THE ENGLISH TRANSLATION FROM THE PERSPECTIVE OF GESTALT THEORY

4.1  Introduction  of  “Silkworm”  and  “Mulberry”  Images  in Chinese Classical Poetry
Sericulture  poetry  is  one  of  the  treasures  of  ancient  Chinese  literature  and  art. China  is  an  ancient  agricultural  country  with rich  sericulture.  The  combination  of sericulture  and  Chinese  classical  poetry  has  formed  distinctive  sericulture  poetry. Originating from  people’s  daily  life  which  is  closely  related  to  people’s  clothes,  food, shelter  and  transportation,  these  sericulture  poetries are  concerned  with  people’s physiological  and  emotional  needs,  which  is  the  basis  of  various  themes  of  the  sericulture poetries. 
As the soul of the sericulture poetry, the “silkworm” and “ mulberry” images are rich  in  symbolic  meanings.  Firstly,  it  chants  strong love.  In  classical  poetry  related  to love,  the  “silkworm”  and  “mulberry”  images  are  often  associated  with  beauty.  For example, 隰桑有阿，其叶有难。既见君子，其乐如何。隰桑有阿，其叶有沃。既见君子，云何不乐。隰桑有阿，其叶有幽。既见君子，德音孔胶。心乎爱矣，遐不谓矣？中心藏之，何论忘之！(《诗经·小雅·隰桑》) The heroine in the poetry was happy  when  she  saw  her  favorite  man. However,  she  was  ashamed  to  express  her admiration and had to miss him every day. The longing for love and the sweetness of love were reflected in the “mulberry” image. Secondly, it depicts the pastoral scenery. For example,  斜阳照墟落，穷巷牛羊归。野老念牧童，倚杖候荆扉。雉雊麦苗秀，蚕眠桑叶稀。田夫荷锄至，相见语依依。即此羡闲逸，怅然吟式微。（王维《渭川田家》）The poem described a series of peaceful and harmonious rural scenery in the evening  of  early  summer:  the  return  of  cattle  and  sheep,  the old  man  leaning  on  the stick, the puke of the wheat and the sparse mulberry leaves. The poet showed a peaceful and leisure life in the countryside by means of these images such as the “silkworm” and “mulberry”. Thirdly, it lashes out heavy feudal taxes. For example,春风吹蚕细如蚁，桑芽才努青鸦嘴。侵晨探采谁家女，手挽长条泪如雨。