论毛泽东诗词翻译中意象的传达

Conclusion
Mao Tse-tung’s poetry is the modern model of the forms of Chinese classical poetry. His poetry is famous for classical style, extensive material and plentiful content, which is appreciated by people all over the world, especially for his grand style and revolutionary romantic technique. So the translation of his poetry is an important component of culture communication between China and Western countries. Mao Tse-tung emphasizes that the meaningful realm must be sublime, imagery must be built in dynamic state and things must be depicted as if with their own particular dispositions so as to render them “mutable” and with “visible signs of poetic waves.” With an eye for creative imagery and meaningful realm, Mao Tse-tung’s poetry is of special aesthetic value with rich connotations and unique flavor. So it’s important to understand the deep image of his poetry, which is the key to explain and comprehend his poetry.
This article introduces the characters and construction of images of Mao Tse-tung’s poetry. While his poetry is rendered into English one, the translation of its images can be based on principles of literal translation, shift translation, amplification and omission and so on, according to faithfulness，artistry and creativeness. The author writes this paper for the purpose of discovering and discussing the translation of images of his poetry, seeking for more proper, more perfect and more scientific methods of translation to combine Chinese classical beauty with Western modern culture and extend the influence of Mao Tse-tung’s poetry. Furthermore, the author hopes to reduce the distance between Chinese and Western culture. Therefore readers in Western world can enjoy themselves by understanding Mao Tse-tung’s poetry. At the same time, they would perceive and experience that Chinese culture is as great and wonderful as it is.

References
[1] 张智中.毛泽东诗词英译综评[J].重庆三峡学院学报,2007, (1):75-80.
[2] Cai Xiqin. A Selected Collection of the Analects [M].Beijing:Chinese Educational Press,2006:45-46
[3] 周吉本.山的情节—毛泽东诗词中“山”的意象解读[J].贵州民族学院学报,2004, (6):87-89
[4] Xu Yuanzhong. Selected Poems of Mao Zedong(Chinese- English)[M].Beijing:Chinese Traditional
Publishing Company,1993:30-33，34-35，46-47，96-97
[5] 刘艳军.试论“红旗”在毛泽东诗词中的意象美[J].湖南行政学院学报,2007, (1):106-107
[6] 秦忠翼.论毛泽东的意境观及其创作实践[J].长沙理工大学学报,2006, (3):134-137
[7] 陈晶晶.《蝶恋花•答李淑一》中的意象及其英译本比较研究[J].湖南农业大学学报,2006, (1):65-66
[8] 王九程.英诗汉译中意象的翻译手法[J].湖北广播电视大学学报,2005, (2):53-55
[9] 岳中生.论英汉语义模糊数字的翻译[J].湖南科技学院学报,2007, (2):142-144
[10] 刘重德.浑金璞玉集[M].北京:中国对外翻译出版公司,1994:87
[11] 袁行沛.中国诗歌艺术研究[M].北京:北京大学出版社,1997:56