认知识解视角下中国诗词《葬花吟》法译本比较研究
A Contrastive Study of French Versions of the Chinese Poem “The Song of Burying the Fallen Flowers” from the Perspective of Cognitive Construal

《红楼梦》中的大量诗词歌赋赋予其“文备众体”的艺术特性，这些诗歌的翻译也成为译文能否准确传达《红楼梦》文化特性与人物情感的关键环节。《葬花吟》作为红楼诗词的重要杰作，其外译有助于国外读者感受属书中的悲剧基调，理解中国诗歌的艺术特色。因此，本文基于认知识解理论的四个维度，从翻译策略和互动过程对《葬花吟》的三个法译本进行对比研究，以期揭示译者、原文和读者之间的多重互动关系，为诗歌翻译译者主体性提供合理的认知解读，并为中国传统文化在法语世界的译介研究与实践提供一定借鉴。研究发现译者主观体验认知的不同导致了对《葬花吟》不同的解读，产生了不同的文本互动。这使得三位译者在面对《葬花吟》中大量的中国传统意象和人称模糊等特点时采取了不同的详略选择、视角转换、语句聚焦。
A large number of poems and songs in Dream of the Red Chamber give it the artistic characteristic of “writing in many styles”, and the translation of these poems has become a key link to whether the translation can accurately convey the cultural characteristics and emotions of the characters in Dream of the Red Chamber. As an important masterpiece of the poems in the Dream of the Red Chamber, the translation of “The Song of Burying the Fallen Flowers” helps foreign readers to feel the tragic tone of the book and understand the artistic characteristics of Chinese poetry. Therefore, based on the four dimensions of cognitive construal theory, this paper conducts a comparative study of the three French translations of “The Song of Burying the Fallen Flowers”, in terms of trans-lation strategies and interactive processes, with a view to revealing the multiple interactive rela-tionships among the translator, the original text and the readers, providing a reasonable cognitive interpretation of the translator’s subjectivity of the translation of the poems, and providing certain reference for the research and practice of the translation of Chinese traditional culture in the French-speaking world. The study found that the different cognitions of the translators’ subjective experiences led to different interpretations of “The Song of Burying the Fallen Flowers” and pro-duced different textual interactions. This has led the three translators to adopt different choices of details, perspective shifts, and utterance focuses when facing the large amount of traditional Chi-nese imagery and the ambiguity of personification in “The Song of Burying the Fallen Flowers”.