重塑山鬼形象

Babel / Revue internationale de la traduction / International Journal of Translation / Revista Internacional de Traducción Pub Date : 2024-01-19 DOI:10.1075/babel.00380.wan

Xi Wang, Rong Jiang

{"title":"重塑山鬼形象","authors":"Xi Wang, Rong Jiang","doi":"10.1075/babel.00380.wan","DOIUrl":null,"url":null,"abstract":"\n This study aims to investigate the image reconstrual of Shan Gui 山鬼 in the multimodal translation from the poem Shan Gui to three renowned\n paintings, i.e., Li Gonglin’s 李公麟 (date unknown;\n 1049–1106), Fu Baoshi’s 傅抱石’s (1945) and Xu Beihong’s\n 徐悲鸿 (1943), within the framework of social semiotics,\n and to explore the reason why the image changed through recontextualization. It is found that the image of Shan Gui reconstrued by\n Li looks like a detached sprite; Fu is a sentimental goddess, while Xu is a mundane human girl. Contextual factors, including\n scholastic explanations of the poem, the individual orientation of painters, and their media choices, contribute to such image\n divergence.","PeriodicalId":502574,"journal":{"name":"Babel / Revue internationale de la traduction / International Journal of Translation / Revista Internacional de Traducción","volume":"1 4","pages":""},"PeriodicalIF":0.0000,"publicationDate":"2024-01-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Reconstruing the image of Shan Gui\",\"authors\":\"Xi Wang, Rong Jiang\",\"doi\":\"10.1075/babel.00380.wan\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"\\n This study aims to investigate the image reconstrual of Shan Gui 山鬼 in the multimodal translation from the poem Shan Gui to three renowned\\n paintings, i.e., Li Gonglin’s 李公麟 (date unknown;\\n 1049–1106), Fu Baoshi’s 傅抱石’s (1945) and Xu Beihong’s\\n 徐悲鸿 (1943), within the framework of social semiotics,\\n and to explore the reason why the image changed through recontextualization. It is found that the image of Shan Gui reconstrued by\\n Li looks like a detached sprite; Fu is a sentimental goddess, while Xu is a mundane human girl. Contextual factors, including\\n scholastic explanations of the poem, the individual orientation of painters, and their media choices, contribute to such image\\n divergence.\",\"PeriodicalId\":502574,\"journal\":{\"name\":\"Babel / Revue internationale de la traduction / International Journal of Translation / Revista Internacional de Traducción\",\"volume\":\"1 4\",\"pages\":\"\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2024-01-19\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Babel / Revue internationale de la traduction / International Journal of Translation / Revista Internacional de Traducción\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1075/babel.00380.wan\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Babel / Revue internationale de la traduction / International Journal of Translation / Revista Internacional de Traducción","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1075/babel.00380.wan","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}

引用次数: 0

摘要

本研究旨在探讨从《山鬼》诗到三幅名画（即李公麟的《李公麟抱石图》（1945 年，时间不详；1049-1106 年）、徐悲鸿的《徐悲鸿醉酒图》（1943 年，时间不详）、傅抱石的《徐悲鸿醉酒图》（1945 年，时间不详；1049-1106 年））的多模态翻译中对山鬼形象的重构、李公麟的《山鬼图》（年代不详，1049-1106 年）、傅抱石的《山鬼图》（1945 年）和徐悲鸿的《山鬼图》（1943 年）。研究发现，李氏重构的山鬼形象是一个超脱的精灵，傅氏是一个多情的女神，而徐氏则是一个世俗的人间女子。语境因素，包括对诗歌的学术解释、画家的个人取向以及他们对媒介的选择，都是造成这种形象差异的原因。

本文章由计算机程序翻译，如有差异，请以英文原文为准。

查看原文

微信好友朋友圈 QQ好友复制链接

本刊更多论文

Reconstruing the image of Shan Gui

This study aims to investigate the image reconstrual of Shan Gui 山鬼 in the multimodal translation from the poem Shan Gui to three renowned paintings, i.e., Li Gonglin’s 李公麟 (date unknown; 1049–1106), Fu Baoshi’s 傅抱石’s (1945) and Xu Beihong’s 徐悲鸿 (1943), within the framework of social semiotics, and to explore the reason why the image changed through recontextualization. It is found that the image of Shan Gui reconstrued by Li looks like a detached sprite; Fu is a sentimental goddess, while Xu is a mundane human girl. Contextual factors, including scholastic explanations of the poem, the individual orientation of painters, and their media choices, contribute to such image divergence.

求助全文

通过发布文献求助，成功后即可免费获取论文全文。去求助

来源期刊

Babel / Revue internationale de la traduction / International Journal of Translation / Revista Internacional de Traducción

自引率

0.00%

发文量

期刊最新文献

Review of Pamela, Bertacco & Soldat-Jaffe (2022): Time, Space, Matter in Translation Reception zones of translated Nigerian literature in France Subtitling strategies of swear words in the stand-up comedy Mo Amer: Muhammad in Texas Generational translation in the Jewish Museum, Berlin “So if you’re going fossil hunting, that’s where you should look”