從《張培及散文選》看翻譯美學(xué)_第1頁(yè)
從《張培及散文選》看翻譯美學(xué)_第2頁(yè)
從《張培及散文選》看翻譯美學(xué)_第3頁(yè)
從《張培及散文選》看翻譯美學(xué)_第4頁(yè)
從《張培及散文選》看翻譯美學(xué)_第5頁(yè)
已閱讀5頁(yè),還剩19頁(yè)未讀, 繼續(xù)免費(fèi)閱讀

下載本文檔

版權(quán)說(shuō)明:本文檔由用戶提供并上傳,收益歸屬內(nèi)容提供方,若內(nèi)容存在侵權(quán),請(qǐng)進(jìn)行舉報(bào)或認(rèn)領(lǐng)

文檔簡(jiǎn)介

1、AcknowledgmentThanks for giving me this chance to achieve this paper and to make the conclusion for my four years education. And this is also an opportunity for me to gain more knowledge than I expected.My sincere thanks are due to my supervisor, Mrs. Zhan Jianhua for helping me to clarify my though

2、t and sharpen my thinking.Here, I also want to give my thanks to other teachers and my classmates who gave me much help. Thank you!AbstractThis paper intends to probe into translation aesthetic which is used during the task of translation, especially in literature works. Possessing much elasticity a

3、nd leeway than other texts, literary translation, on one hand demands more precision of the source texts instead of translating words by words merely. On the other hand, the authenticity of the originals is worth the whistle as well. Translation aesthetics is a product of aesthetic and translation,

4、although it is a relatively new theory throughout the development of Chinese translation theories. And it is not difficult to find that traditional translation Chinese theory contains luxuriant ideas of aesthetic since time immemorial. In the view of this, this article is mainly based on Liu Miqings

5、 theory of translation aesthetics as a theoretical framework, and will take on the conception of Translation Aesthetics by analyzing some example selected in the Selected Modern Chinese Essays written by Zhang Peiji, which will allow readers to comprehend translation aesthetic more straightforward .

6、Key Words: translation aesthetics; Zhang Peiji; aesthetic subjects; translation objects; representation of beauty摘 要文學(xué)翻譯較之其他文本翻譯,具有更多的靈活性,開放性,要對(duì)原文之“意”準(zhǔn)確再現(xiàn),不僅停留在“文意”的傳達(dá),同時(shí)還要求又不失原著本身的“意境”,對(duì)譯員來(lái)說(shuō)是一個(gè)不小的挑戰(zhàn)。本文引入既有翻譯美學(xué)的概念,從讀者審美的角度向譯員提供一個(gè)具有參考價(jià)值的評(píng)判標(biāo)準(zhǔn),望能對(duì)譯員,特別是對(duì)尚在學(xué)習(xí)的同學(xué)有所啟發(fā),從而有據(jù)可依,審視反觀自己的譯作,不斷凝練,呈現(xiàn)好的作品。翻譯美學(xué)給文學(xué)翻

7、譯提供了新的視角,即在翻譯過(guò)程中既充分考慮到讀者的語(yǔ)言文化背景和審美情趣,又啟動(dòng)自身的能動(dòng)性和創(chuàng)造力,使文學(xué)翻譯成為得心應(yīng)手的創(chuàng)造性活動(dòng)。理論建立在實(shí)際操作之上,張培基散文選作為不可多得的優(yōu)秀譯作,不乏經(jīng)典可作為研究案例剖析借鑒。我們賞優(yōu)作,品佳文,借助“翻譯美學(xué)”這一切入點(diǎn),理解譯文的遣詞造句能做到心中有數(shù),心中有文。關(guān)鍵詞:翻譯美學(xué);張培基;翻譯主體;翻譯客體;審美再現(xiàn)Content TOC o 1-3 h z uHYPERLINK l _Toc480834468 1. Introduction 1HYPERLINK l _Toc480834469 2. Translation Aesth

8、etics 2HYPERLINK l _Toc480834470 2.1 The Origin of Chinese Translation Aesthetics 2HYPERLINK l _Toc480834471 2.1.1 Primitive Culture of the Chinese Central Plains 2HYPERLINK l _Toc480834472 2.1.2 The Culture of Xia Dynasty, Shang Dynasty, and Zhou Dynasty 3HYPERLINK l _Toc480834473 2.1.3 From Qin Dy

9、nasty to Tang Dynasty 3HYPERLINK l _Toc480834474 2.1.4 From the Mid-19th Century till Now 3HYPERLINK l _Toc480834475 2.2 The Definition of Translation Aesthetics 3HYPERLINK l _Toc480834476 2.3 Study of Translation Aesthetics in China 4HYPERLINK l _Toc480834477 2.4 Study of Translation Aesthetics in

10、the West 6HYPERLINK l _Toc480834478 3. Two Basic Elements 7HYPERLINK l _Toc480834479 3.1 Aesthetic Subject 7HYPERLINK l _Toc480834480 3.1.1 A Brief Introduction of Aesthetic Subjects 7HYPERLINK l _Toc480834481 3.1.2 The Features of Aesthetic Subjects 9HYPERLINK l _Toc480834482 3.2 Aesthetic Object 1

11、0HYPERLINK l _Toc480834483 3.2.1 Brief Introduction 10HYPERLINK l _Toc480834484 3.2.2 Features of Aesthetic Object 10HYPERLINK l _Toc480834485 3.2.3 Relationship Between AS and AO 11HYPERLINK l _Toc480834486 4. The Study of Zhang Peiji 11HYPERLINK l _Toc480834487 4.1 Zhang PejiA Translator 12HYPERLI

12、NK l _Toc480834488 4.2 Zhang Peijis Views on Translation 13HYPERLINK l _Toc480834489 4.3 The book: Selected Modern Chinese Prose 14HYPERLINK l _Toc480834490 5. Aesthetic Representations in Zhang Peijis Version of Selected Chinese Prose 15HYPERLINK l _Toc480834491 5. 1 The Representation of the Beaut

13、y in Formal System 15HYPERLINK l _Toc480834492 5.1.1 The Beauty of Phonology 15HYPERLINK l _Toc480834493 5.1.2 The Beauty of Lexicon 16HYPERLINK l _Toc480834494 5.1.3 The Beauty of Syntax 17HYPERLINK l _Toc480834495 5.2 The Representation of the Beauty in Non-formal System 18HYPERLINK l _Toc48083449

14、6 5.2.1 The Beauty of Style 18HYPERLINK l _Toc480834497 5.2.2 The Beauty of Culture Deposit 19HYPERLINK l _Toc480834498 6. Conclusion 19HYPERLINK l _Toc480834499 Bibliography 21On Translation Aesthetics in Zhang Peijis Version of Selected Modern Chinese Prose1. IntroductionAs far as a process is con

15、cerned, translation means a course in which something is translated. It has come into being during the long development of human civilization and culture exchanges. Translatology or, in other words, Translation Studies, (the latter is widely used in western), however, should be classified in a facul

16、ty so that it can be advisably categorized. The consensus among its ownership of discipline has not been reached yet in the translation circle both aboard or at home. In this connection, many universities abroad are tend to accept the idea that this course should be located as a branch or research f

17、ield of Humanities which is contained in The Humanities. Opinions differ widely among public, nevertheless, there is a fact that the development of translation studies will slow to a scrawl if this issue remains on-going without any constructive solution, which we cant ignore. Needless to say, findi

18、ng the placementthe ownership of a certain subjectis an issue concerns the prospect of translation studies.To be more specific, one approach excerpted from Aesthetics and Translation: A Textbook written by Liu Miqing and Zhang Yan to dissect the progress of translating is adopted which enable us to

19、finger out this issue. This approach divides the progress into two mainly phase, that is: Source Language Analysis and Target Language Structuring. Properly speaking, the former consist of eight tasks, namely, the analysis of syntactic structure (to work out the relationship among words and sentence

20、s ) ,the analysis of semantic structure (to carry out the meaning of the sentences), the analysis of syntagm structure (to grasp the understanding of sentences and paragraphs), the analysis of text structure (to grasp the understanding of the whole passage ), the analysis of culture background (to e

21、stimate the connotation and value of a language ), the analysis of figure of speech (to beware of the aesthetic of rhetorical devices and their function ), the analysis of the style of the writing (to apprehend the aesthetic of the feature of the literary form ), the analysis of the significance (to

22、 analyse and appreciate the beauty of image, artistic conception, and hypertext implication ). And the latter mainly focus on five tasks, or rather, five tasks of beauty-appreciation : transforming the semantic meaning in an appropriate manner (the first step of beauty-appreciation), conversing the

23、sentence patterns in an appropriate manner (the second step), optimizing both the chose of words and the structure of sentences (the third step), grasping the style of ordinary work and perfect the representation (the fourth step ), and comparative analysis of the logic of writing design and aesthet

24、ic regulation (the fifth step).From what has been mentioned above, it is clear that only four tasks (task1 to 4) are connected to linguistics, either directly or indirectly, which account for one third of the working hour. By contrast, the rest of 9 tasks which pay more attention to language use as

25、well as logical presentation which is called Aesthetic Optimization are attached to Aesthetic Manipulation. So it has shown that translation may do a little about linguistic in this regard, but is related more to aesthetics instead. Time passed by, human society developed, so did peoples cognitive c

26、ompetence. Professor Zhu Guangqian wrote in the preface to the new version of The History of Western Aesthetics : the aesthetics, once served as an appendage of literary criticism, philosophy and natural sciences client, has developed into an independent social science. (1) After that, some translat

27、ion theorists returned to aesthetics, and argued that the ontology affiliation of translation studies is relate not to linguistics but translation aesthetics. Linguistics, is an indispensable tool of epistemology or methodology, however, it cannot explain the in-deepth theoretical issues in translat

28、ion studies. Thus comes translation aesthetics.2. Translation Aesthetics2.1 The Origin of Chinese Translation AestheticsDifferent from any other living creatures, the cultural relation which could be dated to ancient times connects human beings and the real world instead of the natural one.Due to th

29、e essence of aesthetic experience, a subject related to cultural experience, the development of humans aesthetic cognition can be reckoned as a history of aesthetics-cultural history.2.1.1 Primitive culture of the Chinese Central PlainsThe culture of Chinese ancient clan reflects hunting life and ag

30、riculture of our predecessors, so the totem carrying out the image of farming or ghosts and gods is the manifestation of its culture, or in other words, the “beauty of primordial symbol” people usually call, which convey their rough aesthetic images. This is the exact fact that can authenticate that

31、 peoples appreciation competence is calculated from so many years ago, and to be exact, the earliest record can be dated back to 2100B.C. Another proof lie in the oracle bones inscriptions. Those time-honored epigraphs reflects the beauty of its balance, of its sense of symmetry and void-solid combi

32、nation.2.1.2 The Culture of Xia Dynasty, Shang Dynasty, and Zhou DynastyGenerally speaking, once a kingdom is established, it would be much easier to lay down the fundament of its civilization which includes the level of cultural aesthetics and the wholesome material standard. One can easily find it

33、 in Chinese classics accomplished during this period, some instance will be seen in The Book of Rites, The Book of Changes.2.1.3 From Qin Dynasty to Tang DynastySince pre-Qin period, Chinese methodology of ancient aesthetic:“觀”(guan),which means “observation” and “contemplation” in its English, has

34、came into being already. And from Spring and Autumn Period onwards, the idea of “observing the bidding of heaven” mentioned in Tao Te Chin has become the well accepted explanation of that methodology.2.1.4 From the Mid-19th Century till NowChinas aesthetic activity has become ever more prosperous af

35、ter the heyday of Tang Dynasty. People have been engaged in appreciating poem, prose, essay, the work of calligraphy and painting, and local operas. And there are totally two climates of translation in the late Ming Dynasty and late Qing Dynasty respectively. The social background of aesthetic studi

36、es in China turned out to be multipolarization, gradually forming the structure as: the scholar aesthetics is the central backbone, together with three branches, namely, royal aesthetics, folk aesthetics and civil aesthetics.2.2 The Definition of Translation AestheticsAesthetics means appreciation o

37、f the qualities perceived in works of art or the mind and emotions in relation to a sense of beauty; while translation aesthetics is an inter disciplinary subject that applies aesthetic theories in translation studies. In the Dictionary of Translation Studies written by Fang Mengzhi, the definition

38、of translation aesthetics is “to discover the aesthetic origin of translation studies, to investigate the special significance of aesthetics for translation studies and to comprehend the scientific and artistic characteristics of translation studies under the guidance of the basic principles of aest

39、hetics, making use of the principles of aesthetic to put forward aesthetic criteria for the translation of different stylistics;and to analyze , explain and address the aesthetic problems turning on in the process of inter-lingual transformation. Based on thefully understanding of attributes of tran

40、slation aesthetic object (original text) and translation aesthetic subject (the translator), it analyzes the aesthetic constituents of aesthetic objects and the dynamic role of aesthetic subjects in the process of translation which makes it clear that what sort of relationship between aesthetic obje

41、ct and aesthetic subject and provides types and manners for aesthetic reproduction thereby guiding translation practice”.(Fang 296)Combing this definition and the progress of translation, translation aesthetics can be concluded like this: translation is a kind of aesthetic activity in which the aest

42、hetic subject (translator) turns the aesthetic object (original work) into another aesthetic object (translated version) by the means of the aesthetic media (the translators aesthetic sensation perception, etc.).“The research on translation aesthetics mainly involves aesthetic objects, Aesthetic sub

43、jects, aesthetic activities, aesthetic standards, and methods of aesthetic representation.2.3 Study of Translation Aesthetics in ChinaThe idea of aesthetics which can be traced back to the ancient times is gradually developing with the growing experienceof aesthetic activities both in China or in th

44、e western countries. With the development of philosophical aesthetics, translation aesthetic practice flourished, and it is also of concern to ancient translation theorists. From the beginning of Chinese traditional translation activities, many translation theorists contemplated a contradiction, tha

45、t is, whether to insist on “faith” or “beauty” of original articles. Generally speaking, the idea of translation aesthetics is the outcome resulted from the combination of Chinese philosophy and aesthetics as well as translation.Reviewing the history of Chinese translation, we could discover that Ch

46、inese translation theories tightly linked with aesthetics. The distinctive feature of Chinese translation theories is the lasting bonds with aesthetics, which is decided by two points: the history of Chinese translation and the nature of translation.Ma Jianzhong (1840-1900) was born in the Late Qing

47、 Dynasty. During that period, the aggressive people in China hoped that the “new knowledge” (新學(xué)) could save the tottering dynasty out of danger. Ma submitted a letter to the government of Qing Dynasty proposing that to coordinate the politic campaigns via translating and introducing new knowledge. I

48、n his proposition on Establishing Translation Academies set forth “skillful translation” (善譯) which contains aesthetic nature. To some extent, this theory highlighted the importance of “understanding the original”, which means the main meaning and purpose of the original. During translating, the tra

49、nslator should realize by heart the spirit, style, tone and artistic concept of the original, and translate faithfully so that the target readers could obtain the full information of the original.After that, Yan Fu put forward “the three difficulties” for translation, namely “faithfulness, expressiv

50、eness and elegance” in his translation version of Evolution and Ethics, written by T.H. Huxley. The most important feature of this theory lies in the “elegance”, which, at the same time, is obviously an aesthetic subject. As for the artistic effect, theres no different between elegance and popular,

51、which all depends on the context and situation. Although the “elegance” means one has to resort to the vocabulary and syntax of preHan prose to achieve that criteria which has aroused plenty of criticism, the “elegance” is proposed out of the consideration of context and situation,which should be cl

52、assified in the theory of aesthetic reception.In 1950s, Fu Lei put forward his famous translation theory, namely “spiritual resemblance is more important than formal resemblance” in the preface to the translation of Balzas Old Goriot. He gave a further explanation: “Capture its essence and discard i

53、ts shell, inhibit the center and forget exterior”, (Peng 72)which means the translation that is viewed as a product should focus more on the likeness of spirit rather than the similar in form. This idea which rendered translation theories a new and unique aesthetic perspective has combined the tradi

54、tional Chinese art with translation theories, and also made a supplement to Yan Fus theory.Xu Yuanchong, such an outstanding poem translator that we cannot miss here, concluded his point of view as: “translation is an art of beautification and a competition of creation”. (Xu 151) This theory include

55、s that beauty is in three aspects, namely beauty of meaning, beauty of sound and beauty of form. Among them, the beauty of meaning is the most important, and is placed in the first place.The second comes to the beauty of sound, and then is the beauty of form. Possessing all of these three beauties a

56、t the same time requires the highest artistic state.2.4 Study of Translation Aesthetics in the WestAesthetics in the west boasts a long history, which can be traced back to the 18th century in Germany, the term “aesthetics” was coined by a German philosopher Alexander Gottlieb Baumgarten, the father

57、 of aesthetics, whose publication“Aesthetica” marked the study of aesthetics became an independent branch of science.It is generally considered that the western translation theories can be retrospect to Marcus Tullius Cicero, a well-known philosopher, politician and rhetorician, and Quintus Horatins

58、 Flaccus, another topping translation theorist. The former, under the influence of the Greek philosophers Plato (the relativity and absoluteness of beauty) and Aristotle (Beauty is the art of imitating nature), came up with his standpoint that translator should pay more attention to the beauty of di

59、ction. However, Tullius who opposes Platos “rigid reason” adhered to sense-for-sense translation. The latter, basing on his view on art, advocated the application of aesthetic criteria in translation.Then the classical philosophical-aesthetic theories was followed by St. Jerome, the successor of Cicero and the first translator who translated Bi

溫馨提示

  • 1. 本站所有資源如無(wú)特殊說(shuō)明,都需要本地電腦安裝OFFICE2007和PDF閱讀器。圖紙軟件為CAD,CAXA,PROE,UG,SolidWorks等.壓縮文件請(qǐng)下載最新的WinRAR軟件解壓。
  • 2. 本站的文檔不包含任何第三方提供的附件圖紙等,如果需要附件,請(qǐng)聯(lián)系上傳者。文件的所有權(quán)益歸上傳用戶所有。
  • 3. 本站RAR壓縮包中若帶圖紙,網(wǎng)頁(yè)內(nèi)容里面會(huì)有圖紙預(yù)覽,若沒有圖紙預(yù)覽就沒有圖紙。
  • 4. 未經(jīng)權(quán)益所有人同意不得將文件中的內(nèi)容挪作商業(yè)或盈利用途。
  • 5. 人人文庫(kù)網(wǎng)僅提供信息存儲(chǔ)空間,僅對(duì)用戶上傳內(nèi)容的表現(xiàn)方式做保護(hù)處理,對(duì)用戶上傳分享的文檔內(nèi)容本身不做任何修改或編輯,并不能對(duì)任何下載內(nèi)容負(fù)責(zé)。
  • 6. 下載文件中如有侵權(quán)或不適當(dāng)內(nèi)容,請(qǐng)與我們聯(lián)系,我們立即糾正。
  • 7. 本站不保證下載資源的準(zhǔn)確性、安全性和完整性, 同時(shí)也不承擔(dān)用戶因使用這些下載資源對(duì)自己和他人造成任何形式的傷害或損失。

最新文檔

評(píng)論

0/150

提交評(píng)論