ABSTRACT
Every color image in poetry is full of plentiful feelings of poets. With the advance of cross-cultural communication, domestic and foreign scholars are keen on translating classical Chinese poetry into other languages. Among others, the color images in classic poetry have become an obstacle to successfully conveying the meaning and beauty of those poems in translation. There are many improper translations of color images in different translation versions, which have greatly influenced the target readers’ understanding of ancient Chinese poetry. Although the translation circle has achieved great accomplishments in the translation of color images up till now, few people have explored color image translation from the angle of Skopos theory. Therefore, this thesis, based on the research findings of scholars both at home and aboard, has explored the rendering of color images from the Skopos theory angle. Meanwhile, it has also studied the translation strategies in translating color images of Chinese classical poetry, including literal translation, free translation, omission translation and filling-up translation. The thesis emphasizes that by following skopos theory principle and applying various translation strategies flexibly, the translation of color images in poetry is feasible.
Key words: ancient Chinese poetry; color image; Skopos theory; translation strategies
CONTENTS
ACKNOWLEDGEMENTS
ABSTRACT
摘要
Chapter One INTRODUCTION-1
Chapter Two LITERATURE REVIEW-2
Chapter Three COLOR IMAGE IN PEOTRY-5
3.1 Significance of Color Images in Poetry-5
3.2 Classification of Color Image in Poetry-5
3.2.1 Warm colors-5
3.2.2 Cold colors-6
3.2.3 Objects indicating colors-7
3.3 Difficulties and Problems of the Translation of Color Images in Poetry-7
Chapter Four THREE RULES OF SKOPOS THEORY-10
4.1 Skopos Rule-10
4.2 Coherence Rule-11
4.3 Loyalty Rule-11
4.4 Guiding Significance of the Skopos Theory on Poetry Translation-12
Chapter Five TRANSLATION STRATEGIES OF THE COLOR IMAGES-13
5.1 Literal Translation-13
5.2 Free Translation-15
5.3 Omission-16
5.4 Notation-18
Chapter Six CONCLUSION-20
WORKS CITED-22
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