从翻译美学角度看王科一的《傲慢与偏见》译本毕业作品.docx

从翻译美学角度看王科一的《傲慢与偏见》译本毕业作品.docx

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从翻译美学角度看王科一的《傲慢与偏见》译本毕业作品

英语

从翻译美学角度看王科一的《傲慢与偏见》译本

AStudyontheChineseTranslationofPrideandPrejudicefromtheTranslationAestheticPerspective：

ACaseStudyonWangKeyi’sVersion

摘要

译学与美学的结合渊源已久，随着对翻译美学研究的更多关注，模糊美学这一年轻的分支也获得很大的发展并逐渐系统化。

中国特色文学主要趋于“以神驭形”，语言含蓄隽永、高度凝练、意象丰富、意境深远。

本文以刘宓庆教授的《翻译美学导论》与毛荣贵教授的《翻译美学》为理论依据，以模糊美为切入点，从审美客体、审美主体两方面，结合分析王科一的《傲慢与偏见》译本进行分析，旨期待美学与翻译联姻的更加和谐。

关键词：

翻译美学；模糊美；傲慢与偏见

Abstract

Aestheticshasalonghistoryofintegrationwithtranslation,andwithmoreattentionpaidtoTranslationAesthetics,FuzzyAesthetics，asayoungbranchdisciplinerelatedtotranslationstudies,hasalsodevelopedimmenselyandsystemized.TraditionalChineseliteratureischaracterizedbyitssuggestiveness,subtlety,implicitness,andsimplicity,whichcanbetypicallyillustratedbyFuzzyAestheticsintwodimensions---translationaestheticsubjectandobject.WiththereferencebooksofcontemporaryTranslationAesthetictheories,inparticular,LiuMiqing’sAnIntroductiontoTranslationAestheticsandMaoRonggui’sTranslationAesthetics,thisthesisconductsananalysisoffuzzybeautyinWang’stranslatedversionofPrideandPrejudice,aimingtokeeptheintegrationofAestheticsandtranslationinamoreharmoniousway.

Keywords:

TranslationAesthetics;fuzzybeauty;PrideandPrejudice

Contents

1Introduction

Literature,theresultsofgenerationsofacquiredwisdom,istheculturalheritageofthepast.Forthepasthundredsofyears,translationplaysavitallyimportantroleintheprocessofhowtokeeptheliteratureforeverexistingandspreading.Fromthetheoreticalandpracticalpointofview,translationtheoryhasalwaysbeeninseparablefromliterature.

Previousliteraryresearchershaveexploredhowtoapplyaesthetictheoriesintoliteraturetranslationfromatranslationaestheticperspective.Thefuzzybeautyisemphasizedinthestudyofpoetrywhiletheaestheticcriteriaareperfectlymanifestedinliteraryworks.XieHanxinginhisarticletellsushowtotransfertheexistingimagesasawholeandsufficientlytakesuseoffuzziness.（谢寒星,2008）AndliteraryworkscoveringaesthetictranslationtheoriessuchasOnYangBi’sTranslationofVanity:

AnAestheticPerspectivegivetheauthorgreatenlightenmentastouseTranslationAesthetics.（陈婷,2010;胡婷,2010）

TheChineseversionofPrideandPrejudicebyWangKeyihasenjoyedagreatpopularitysinceitwaspublishedin1980.Manyreaderstendtofavorthetraditionaltasteofitsbeautifullinesandartisticconceptionhereandthereinthebook.Currentlythestudieschieflyfocusontheaspectsofmarriageattitude,thesocialbackground,translationtechnique,etc.Theaestheticvalueisseldomtouchedupon.

TheauthorhasreadsometheoriesaboutcontemporaryTranslationAesthetics,particularlybyMaoRongguiandLiuMiqing.CombinedwithWang’stranslationofPrideandPrejudiceandhavingagoodunderstandingofthem,wecangetenlightenmentfromwesterntranslationtheoriesanddevelopthoseofourown.

ThisthesisfocusesonthefuzzybeautyastheaestheticcriteriasoastoprobeintothephenomenonofpassingtheartisticconceptionandkeeptheintegrationofAestheticsandtranslationinamoreharmoniousway.

Inthelongrun,itcannotonlystimulatethemoralandculturalaccomplishmentsoftranslator,butalsopromotethecultureexchange,whichisdeemedasapartofanation’sproperty.

2AestheticsandTranslation

2.1TheConceptsofTranslationAestheticsandFuzzyAesthetics

ContemporaryTranslationAestheticsisacomprehensivecourseintegratedofbothtranslationandaesthetics.Itappliesbasicaesthetictheoriestothetranslationarena,whichcanbedividedintoseveralmodules,suchaspoetry,proseanddrama.Inthispaper,theauthormainlyintroducestheaesthetictranslationofliterature,whichisakindofrecreationofaestheticactivity.Duringtherecreationprocess,theaestheticsubject（thetranslator）transferssourcelanguage（SL）intotargetlanguage（TL）,includingfourprocedures——thetranslator’scomprehension,transformation,improvementand,themostimportantaspect,representation.AccordingtoFangMengzhi,withtheapplicationofviewsofAesthetics,theTranslationAestheticsdealswiththescientificityandartistryoftranslation.FundamentaltheoriesofAestheticsareemployedtoproposedifferentcriteriaandanalysis,explainandsolveaestheticproblemsduringinter-languagetransference.Withafullunderstandingoftranslationaestheticconstituentsoftheobjectandthedynamicroleofthesubject,translatorscanbetterrevealtherelationshipbetweenaestheticsubjectandobjectinamoreclearway（毛荣贵,2005:

7）.

InProfessorMaoRonggui’sbook,thefuzzinessisspeciallytermedinanaestheticaspect.Itleadsreaderstodigestindependently,contemplatedeeply,imaginefreelyandcomprehendmoreprecisely.Thefuzzinessmayberelatedtopolysemy,punandotherfiguresofspeech.Thepurposeoffuzzinessisnotmerelyadeliberateappearance,butahazyandfar-reachingoutlineofthecontent,suchasachievingtheeffectofeuphemism,humorandliterarytalent.

AccordingtoProfessorLiuMiqing’stheory,theaestheticscanbeanalyzedinthreedimensions——aestheticsubject,aestheticobjectandaestheticreproduction.FuzzybeautyisoneofthemajorissuesofTranslationAesthetics.ItreferstothewordsinvolvingafeatureofBeautifulObscurity,whichhasafar-reachingsemanticextension.Obviously,distincttypeofreadingoffersreadersaclearandeasygrace,yetfuzzinessgivesreadersahazyviewbywhichtheycandeveloptheabilityofindependentthinking,initiativeimaginationandthecriticalandexploratoryspirit.AstheChineseancientsayinggoes,“书不尽言，言不尽意”,whichmeansthatthereisfarmoreconnotationimpliedthanexpressed.Tobespecific,althoughlanguageisthevehicleofcultureandcontainsrichculturalconnotation,itcannotconveyallthewriter’sthoughtsanddeepfeelingsexactly.Readersneedtoponderforawhiletodigestwhattheauthorwantstoexpress.OnethousandreadershaveonethousandHamletsandwhethergreatmindsthinkalikejustleavefortimetotestify.

2.2TheRelationbetweenAestheticsandTranslation

Aestheticshasnotbecomeanindependentorformaldisciplineuntil1750whentheGermanyAlexanderGottliebBaumgartenfirstusedthewordinhisaestheticwritings.Later,itwasgraduallyacceptedbytheSinologyfield.

ThecontemporaryChineseTranslationAestheticshasabsorbedtheessenceofWesterntheoriesanddevelopedthetraditionaltranslationmethodsaswell,formingatheorywithChinesecharacteristics.Chinesetranslationstudiesandaestheticsarelinkedbyaverycloserelationshipwithalonghistoryofphilosophy.InChina,theAestheticsisanancientsubject,andatsomepointalsoyoungaswell.Tobespecific,theChineseaestheticthoughthasahistoryofmorethantwothousandyears,butthehistoryasanewsubjectonlyhaslessthanthreehundredyears.

Thecreationofeveryliteratureisbasedontheprincipleofartbeauty,inotherwords,theinventionofartistheinventionofbeauty.Aneyeforbeautyisneededineverysenseofword,thusliteraturetranslation,asasortofliteratureandart,isalwaysaccompaniedbytheaestheticactivity.FromtheTranslationEstheticangle,itisabouttheconcernofconvertingonelanguageintoanotherinanartisticway.Whenthereisasuccessfulliteraryoutput,theremusthaveconveyedaprofessionalaestheticfeelingofbeautybetweentwolanguages.

Amongallthetranslationactivities,literaturetranslationisthemostfascinatingbutalsomostcontroversialandtoughesttask.Estheticexperiencemayrangefromtheselectionofasmallwordtothewholecontextsuchasthelikenessnotonlyinappearancebutalsoinspiritandthetransmigrationofsouls.Thetranslatorexperiencesthesameaestheticcreationastheoriginalwriterdid.

Althoughtheformsofbeautydifferfromlanguagetolanguage,thedifferenceswon’tbeanobstructiontoconveythebeautyinliteraturetranslationsincethereexistsmanycommonpointsinaestheticfeaturesandaestheticdelights,whichareexpressedthroughtheseforms.（毛荣贵,2005:

248）.Thesameaestheticfeaturesanddelightsareoneofthebasicfactorsoftranslationaestheticactivities,andsoarethetranslationaesthetictheories.

Thereasonwhyfuzzinessisaproperwaytoexpresstheauthor’sideacanbeillustratedbyfollowingarguments.

Inthefirstplace,itiswidelyknownthataestheticshasalonghistorywithphilosophyandasaresult,thetranslationaestheticsinheritsitspartialcharacteristics---speculative.Philosophicalaestheticspaysmoreattentiontotheformsofimageinamacroscopicviewratherthanamicrocosmicone.Concretely,astoanswerwhatisspirituallikenessandhowtogiveadefinitionofbeauty,noonecangiveanexactreply.Onethousandreadershaveonethousanddifferentversions.

Secondly,generallyspeaking,comparedtotraditionalChineseAesthetics,WesternAestheticsputsmoreemphasesonthelogicphilosophizationoftheories,ratherthanthestudyoflanguageaesthetics.Onthecontrary,Chineselanguageisexpressedinaperceptiveway,givingprioritytotheinnerbeauty.Thatistosay,Chinesepeopletendtoexternalizethebeautyandputtheconceptindailylifeandnature,pursuingthe"NatureandHumanity"ideology.

Surelytheaestheticoutcomeisrestrictedbytheaestheticexperience,literatureartisticaccomplishmentetceteraofthetranslationaestheticsubjects.Theresultvariesaccordingtodifferentaestheticsubjects.Therefore,fuzzinessisafeasiblewaytotransmitthedeepmeaningoftheoriginalwork.

3AnAnalysisofWangKeyi’s（Wang’s）Versi