| Enjoying fame as high as Li Bai and Du Fu, Wang Wei, known as "poet-Buddha", represents the high achievement of the poetry in Glorious Tang dynasty. Being rich in genres, Wang Wei’s poems mainly include landscape and pastoral poetry, farewell poetry and fort poetry. Besides, Wang Wei is also talented in music and painting. Sushi once remarked that "one can find painting elements in his poems and poetic elements in his paintings"(Su Shi,1986:Volume10)1. In Wang Wei’s landscape and pastoral poetry, the yijing of integrating into nature goes along well with theme that people are supposed to keep harmony with nature. Just as the other poems of the period, the generous and desolated yijing as well as the clear and bright one has long been spoken highly of by the readers. The study of Wang Wei’s poems is optimistic in number, but it is not so satisfying when it comes to the study of the translation of Wang Wei’s poetry. Based on this, this thesis systematically analyzes the reproduction of yijing in Wang Wei’s poetry from the perspective of intertextuality.Since1960s, the idea of "intertextuality" was put forward by Julia Kristeva. Intertextuality has witnessed several stages of development. But the different stages keep on emphasizing the relationship between texts. Intertextuality is the dialogue between texts, one of which is always construed and affected by its previous ones. After that, Hatim and Mason introduced the idea into translation. Translation is a process involving transformation of texts in two languages. In the process, the translator is obliged to understand the source text and get to know how to express it in target text. To achieve the two, one is encouraged to refer to other relevant texts in understanding and expressing. And this process can be seen as an intertextual activity.Wang Wei’s poetry, especially landscape and pastoral poetry as well as farewell poetry, represents the achievement of Glorious Tang period. In a highly condensed form, Wang Wei’s poetry presents readers with enormous yijing, which leaves much room for readers to imagine. In the process of creating poems, Wang Wei used considerable intertextual signs. The rhyme, allusions and some certain kinds of yijing all serve as the intertextual signs. Only by taking the intertextual signs into consideration, can we receive satisfactory translation. Based on intertextuality, the thesis aims to discuss the reproduction of yijing in Wang Wei’s poetry, hoping to contrite a little to the relevant study. Wang Wei is good at verses and verses have special requirements for the writing style and rhyme. These requirements can serve as the intertextual signs. In Wang Wei’s poetry large quantities of allusions can be traced, which are also considered as the intertextual sign. In addition, in Wang Wei’s poetry, some typical and representative yijing can be felt. For example, in his landscape and pastoral poetry,"emptiness" and "silence" are symbolized and in his farewell poetry, it is always filled with a generous and desolate farewell and farewell with a bright and clear feeling. These typical yijing in all can be concluded as part of the intertextual signs. Only by dealing with the signs properly, can the translator be able to present the whole picture of Wang Wei’s poems to the target language readers. Choosing intertextuality as the theoretical guidance, the thesis aims to analyze several versions of Wang Wei’s landscape and pastoral poetry and farewell poetry to offer some advice for the further studies.This thesis mainly presents the origin and development of intertextuality; discusses the relationship between Wang Wei’s poetry and intertextuality and relationship between Wang Wei’s poetry and poetry of others. And finally, it analyzes the reproduction of yijing in his poems. From the above-mentioned parts, a conclusion can be got that intertextuality offers a new angle for the study of Wang Wei’s poems. As a result, it is feasible to introduce intertextuality into the study of Wang Wei’s poetry translation. |
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