英语翻译方向开题报告Word下载.docx

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姓名李芬

学号20099371

系部外语系

专业年级英语专业2009级

指导教师李小霞

2012年11月06日

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AestheticRepresentationinTranslationofChinesePoemsandLyricsfromthePerspectiveofTranslationAesthetics----ACaseStudyofLiYu'

sPoemsandLyrics

1.LiteratureReview

Today,withtheglobaldevelopmentofcultureandliterature,moreandmoreliterarytranslatedversionsareappliedtoculturalexchange,however,asabranchofliterarytranslation,hasitsuniquecharmsandcharacters,especiallythetranslationofChinesepoemsandlyrics.ThisthesisaimstodosomeresearchesandanalysisofLiYu'

spoemsandlyricsEnglishversionsfromtheperspectiveoftranslationaesthetics.

1.1TheTheoreticalBasisoftheResearch

Chinesepoetryhasalwaysbeenanaestheticcategory.Poetryisakindofliterarygenremainlyconcerningaffection,whichmirrorthesociallifewithlyricwayintensively,expressthethoughtsandfeelingswithrichimagination,rhythmicallanguageandarrangedpattern.Poetryisalsotheoldestandthemostfundamentalformofliterature（HuBin.LiuLizhen,2011:

49）.AsfarastheEnglishversionsareconcernedinthisthesis,itisimportantforustobefamiliarwithEnglishpoetryversionstranslatedbyoutstandingChinesetranslators.GongJinghaothinksthattoLiYu'

spoemandlyric,themostimportantthingisfaithfulnessandequivalenceinformandalsomanagestofindwordswhichfitboththecontentandtherhyme,allthesecontributemuchtospreadChinesecultureabroad（JiangLi,2006:

2）.Besides,XuZhongjie'

swork100ChineseCi-poemsinEnglishVersepublishin1986,aimedatputtingbeautifulrhymeintotargetlanguagewithexplanationandenlargement,sothatreaderscanunderstandbetter.WhileXuYuanchong'

s

SelectedPoemsofLiYuin2006,histranslatedpoemsiswellacceptedbyforeignersandjustlikewrittenintheforeignlanguagebythesameauthor.XuYuanchongadvocatestheprincipleofthreebeauties:

beautyinsound,beautyinmeaningandbeautyinform.

Inthewesternworld,theaestheticsentersthefieldoftranslationstudiesatanearlystage.AlexanderGottliebBaumgarten,aclassicalphilosopher,proposed"

aesthetics"

firstlyinhisworkAestheticspublishedin1750,whichsymbolizedthebirthofaesthetics,nolongersubordinatedtothetheoryofphilosophy,literatureandart,butevolvedintoanindependentdisciplinegradually.WhileShirleyChewandAlistairStead,publishedtheworkTranslatingLifeStudiesinTranslationAestheticsin1999.Thesetwoscholarsfirstpresentedthe"

translationaestheticstheory"

andstateddescriptionandresearchindetails.Translationisacross-culturalandcross-languageexchangeactivity.Withregardtoitsessence,itmainlygivesexpressiontotherelationshipwithinsubject---object---subject.Thus,amongnumeroushumanscience,withthecombinationofaestheticsandtranslation,therecomesintobeingthetranslationaesthetics.Asforpoetry,RobertFrostregardspoetryas"

thatwhichislostintranslation"

（Baker,1998:

170）,whichisoftencitedtohighlightofpoetrytranslation.AbouttheancientChinesepoetry,manytranslatorsbothathomeandabroadhavegotgreatachievementthatisuniversallyacknowledged.Therefore,thetranslatabilityoftheancientChinesepoetryisundoubted.W.S.Merwinsays,"

Icontinueinthebelief,youknowthatIdon'

tknowhowtotranslate,andthatnobodydoes.Itisanimpossiblebutnecessaryprocess,thereisnoperfectwaytodoit,andmuchofitmustbefoundforeachparticularpoemaswego"

176）.What'

smore,A.F.Tytlerputsforwardthreebasicprinciples,andcomestotheconclusionthat"

agoodtranslationshouldbeonethatinwhichthemeritoftheoriginalworkissocompletelytransfusedintoanotherlanguage,astobeasdistinctlyapprehended,andasstronglyfelt,byanativeofthecountrytowhichthatlanguagebelongs,asitisbythosewhospeakthelanguageoftheoriginalwork"

（Bell,2001:

11）.

InadditiontoChinesetranslatology,ADictionaryofTranslationStudies,whichdefinestranslationaestheticsas"

Theresearchobjectoftranslationaestheticsistheaestheticobject（theoriginal,version）,aestheticssubject（translator,reader）,aestheticactivity,aestheticjudgement,aestheticappreciation,aestheticstandards,andthecreativeaestheticrepresentationinthetranslationprocess,andsoon."

（FangMengzhi,2005:

296）.AsforthehistoryofChinesetraditionaltranslationtheory,ithasdeeplybeenrootedinaestheticssinceancienttimeswhenforthefirsttimetheBuddhistscripturewastranslatedintoChinese.ThefamoussayingbyChinesephilosopherLaociusthat"

thegracefulspeechesintranslationarenotfaithful,butfailthfulspeechesnotgraceful"

（引自老子《道德经》第81章：

“信言不美，美言不信”）isfrequentlycitedintranslationtheories.Kumarajivapromoteseleganceinexpressionbesidesaccuracy,whichhasvitalinfluenceonancientChinesepoetry.Afterexperiencingaplainperiod,in19thcentury,withthespreadofthewesternthoughtsandtechnology,literaturetranslationbecameagainprosperousinChina.In1986,YanFupresentedhistripleprincipleoftranslation,namely"

faithfulness,expressiveness,andelegance"

inwhich"

elegance"

hasarousedmanycontroversiesinChina.ScholarslikeLinYutangandXuYuanchonghavefurtherextendthemeaningof"

inanaestheticalwayemphasizingtheaestheticelementsintranslationandmadecontributionstothestudiesofTranslationAesthetics.LuXunemphasizesfaithfulnesstotheoriginalforthebenefitofreaders'

aestheticexpectations.（ZhangLi,2009:

4）.FuLei,basingonChineseaesthetic,summarizesthat"

asaproduct,translatingislikeimitatingapicture.Whatismoreimportantisresemblanceinform"

（LuoXinzhang,1984:

558）.QianZhongshubelievesin"

transmigration"

whichattachesgreatimportancetoconveyingtheaestheticvalueoftheST（sourcelanguage）.Inspiredbytraditionaltranslationtheories,especiallyChineseaesthetics,manytranslationtheoristsinChinaregardTranslationonAestheticsasaresearchsubjectattheendof20thcentury.FuZhongxuan（1993）studiestheproblemsofaestheticobject,aestheticsubject,aestheticactivity,aestheticstandardandaestheticrepresentationetcinPracticalTranslationAesthetics.LiuMiqing（1995）published

hisbookAnIntroductiontoTranslationAesthetics,inwhichhediscussedtheaestheticoriginsoftranslationtheories,aestheticpsychology,aestheticrepresentationetc.XuYuanchong（2006）publishedhisworkTheArtofTranslation,inwhichheputforwardthe"

schoolofChineseliteraturetranslationtheory"

includingthetheoryofthreebeauties,thetheoryofthreetransformations,thetheoryofmakinguseofadvantagesetc.

Aestheticrepresentation,asabranchunderthetranslationaesthetics,whichhasimportanteffectonliteraturetranslation.Researchesonaestheticrepresentationandrepresentationmeansinliterarytranslationareflourishing,whichrangefromtranslationofpoetrytotranslationofessays,idioms,proverbs,novelsandsoforth.Furthermore,howtorepresentthebeautyatalllevelsinliterarytranslationisamajorconcerntothem,suchasbeautyinsound,beautyinstyle,beautyinrhetoric,beautyinartisticconceptionandetc（ZhangLi,2009:

5）.Thus,aestheticrepresentationprovestobethemostsignificantstudyobjectoftranslationaesthetics.However,atpresent,academicshavenotyetreachedaconsensusontheclassificationoftranslationaestheticrepresentation.Fromthepointofviewofspecificskills,somescholarsputforwardtheaestheticrepresentationmeanssuchasamplification,omission,exteiasion,substitution,negation,combination,divisionetc（FuZhongxuan,1993:

217-247）,whileothersfromtheperspectiveofguidingprincipleandpresentsomemeasures,includingimitation,rebuild,generalizationandconcretization,implicitandexplicitconversion,amplifyingandcontractingconversionetc（LiuMiqing,1995:

309-343）.Aspoetrytranslationisunanimouslyheldtobethemostdifficultanddemandingformofliterarytranslationduetothesubtletyanddelicacyinthelanguageofpoetryandthedifferencesbetweenthesourcelanguageandthetargetlanguage（YangXianyan,2009:

1）.Therefore,inordertoarriveatabettertranslation,thetranslatormuststrivetorepresenttheoriginalaestheticinformationtothemaximumbyapplyingappropriateaestheticrepresentationmeansandenablethereadertoobtainthesimilaraestheticfeelings.Hence,therecomestoaviewpointthat"

inliteraturetranslation,whatdemandaestheticrepresentationtoreproducearetheaffectivebeautyoftheoriginalcontent,theformalbeautyoftheoriginallanguage,thepatternbeautyoftheoriginalrhetoric,therhythmicbeautyoftheoriginalrhymeandthestructurebeautyoftheoriginalchapter"

（DangZhengsheng,2009:

97）.

ThepurposeoftheresearchistoanalyzethestatusquooftheEnglishversionsaboutLiYu'

spoemsandlyricsfromtheperspectiveofaestheticrepresentationfromthetranslationaesthetics.

AestheticshasalonghistorybothinChinaandinthewest,butinthepespectiveofaestheticrepresentation,itisstillanewsubjectforallthetranslators.Inor