多空间概念整合模型和古诗词中声音意象的英译

Fauconnier提出的四空间概念整合模型只是相对的，其中间空间可能成为下一个环节上的输入空间，产生新的合成空间和新的类属空间，从而完成整个语篇的意义合成。译者在理解汉语古诗词声音意象的过程中，可以通过创建四空间概念整合模型，在此基础上拓展的七空间概念整合模型、十一空间概念整合模型，分别建构出声音意象的字面意义、联想意义和多重意义；在表达的过程中，译者可以创建四空间概念整合模型，通过分析原文空间的元素与译者空间的元素是否存在对应关系以及原文空间和译者空间的元素在译文空间的投射情况，采取对译法、直译法、意译法、直译+意译法在译文空间合成译文，使得译文在译入语读者脑海中激活与原文读者脑海中类似的联想，从而产生相同的感受。

Multi-space Conceptual Integration Network and English Translation of the Sound Images in Ancient Chinese Poetry

The four-space Conceptual Integration Network by Fauconnier is not constant.Instead,it will become the input space for the next round of constructing four-space Conceptual Integration Network,producing new Blending Space and new Generic Space,and in this way the meaning of the whole discourse will be constructed.In the process of understanding the sound images in ancient Chinese poetry,the translator can build a four-space Conceptual Integration Network to understand the literal meaning,on the basis of which he or she will also build a seven-space or eleven-space network to understand the associated meaning or polysemy of the sound images.Besides,he or she can build a four-space Conceptual Integration Network to find the proper target language symbols to activate the same association in the target text by analyzing whether the elements in the ST Space correspond to those in the Translator’s Space or not and understanding the mapping of elements in the ST Space and the Translator’s Space into the Version Space respectively.The translator can employ corresponding translation, literal translation,sense-for-sense translation,as well as the combination of literal translation and sense-for-sense translation to help the blending of the version in the Version Space so that the target readers can construct the meaning for the version similar to that constructed by the readers reading the ST.