文章旨在以让-雅克•勒塞克勒和劳伦斯•韦努蒂的“剩余”理论为指导，研究庞德翻译中国古诗所采用的析字拆词和意象并置的翻译方法，进而获得中国古典文学输出的某种文化启示。庞德在翻译中国古诗中采用了析字拆词和意象并置的翻译模式，一方面造成庞德翻译中过度自由的增减和主观阐释，另一方面却呈现出对中国古诗的文本性、文化性和历史性的尊重。这种翻译模式符合韦努蒂对异化翻译的定义，却违背了文学多元系统的干预法则。勒塞克勒和韦努蒂所提出的“剩余”理论融合了解构主义、社会学和阐释学的特点，为这种翻译模式提供了四个不同层次的诠释，进而在中英不对等的语言权力关系中，为中诗英译的文化议程和身份塑造提供了新的视角和方法论。%This article aims to investigate Ezra Pound’s ideogrammic and juxtaposing pattern in translating Chinese classical poetry for some cultural enlightenment in exporting Chinese classical literature in the light of the Remainder theory created by Jean-Jacques Lecercle and developed by Laurence Venuti. Pound’s ideogrammic and juxtaposing pattern in trans-lating Chinese classical poetry gave rise to excessive freedom of amplification and reduction, and subjectivity in interpretation while it showed his respect to the textuality, culturality and history of Chinese classical poetry. This pattern is consistent with Venuti’s definition of foreignizing translation but inconsistent with the law of interference according to the polysystem theory. Combining the elements of deconstruction, sociology and hermeneutics, Lecercle and Venuti’s Remainder theory provides a new interpretation for Pound’s translation pattern in four hierarchies and thus a new perspective and methodology for the cul-tural agenda and identity in translating Chinese classical poetry into English amid the imbalanced power relationship between the two languages.
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