摘要
文章开创性梳理出仓央嘉措诗歌英译的格律派谱系,选取奥康纳(1906)、贝尔(1924)、邓肯(1961)、威廉姆斯(2004)、希尔与菲(2008)5部具有里程碑意义的格律译本展开研究.研究厘清了其翻译策略的演变路径:从依托本土化三音步实现韵律对等,到借鉴英语民谣体、采用本土化民谣格律,再到兼顾韵律对等与诗学表现力、运用折中式十一音节诗行,最终走向形式模仿,采用异化式逐字逐音节对应译法.这一演变过程,清晰体现出诗歌形式再现策略由归化逐步转向异化的整体趋势.结合历时分析可见,各类翻译策略与英语诗坛主流风格存在共时互动,同时译本始终面临"形式规整性"与"诗学忠实度"的核心矛盾.研究成果对少数民族诗歌翻译研究具有范式参考价值,也为跨文化韵律转译理论提供了实证补充.
This study establishes a pioneering prosodic genealogy of English translations of Tsangyang Gyatso's poetry,examining five seminal metrical renditions by O'Connor(1906),Bell(1924),Duncan(1961),Williams(2004),and Hill&Fee(2008).It identifies an evolutionary trajectory in translational strategy:from seeking rhythmic equivalence(via domesticating trimeter)to approximating the English ballad form(domesticating ballad meter)to balancing rhythmic equivalence with poetic adequacy(mediating hendecasyllabics)to pursuing formal mimesis(foreignizing syllable-for-syllable correspondence).This progression distinctly reflects a broader shift in poetic strategy from domestication to foreignization in formal reproduction.Through diachronic analysis,the study further reveals a synchronic dialogue between translation strategies and Anglophone poetic trends,as well as the fundamental tension between"formal regularity"and"poetic fidelity."These findings provide a significant paradigm for research on translating ethnic minority poetry and contribute substantively to cross-cultural prosodic transfer theory.
