英语专业翻译方向论文.docx

英语专业翻译方向论文.docx

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英语专业翻译方向论文

1.Introduction

BaJinisanoutstandingwriter.HealsoisanexcellenttranslatorinChineseliteraturehistory.HisvisionofTheHappyPrincesellwellinChinainthepastseveraldecades.Hehasasenseofaestheticsintranslation.TheversiontranslatedbyBaJinperfectlyreflectshisaestheticthought.Theversionhassimplewording,vividimageandfreshstyle.Inrecentyears,moreandmorescholarshavebeguntofocusonthetranslationofBaJin’sTheHappyPrince.ThethesisfocusesonexploringBaJin’sversion--TheHappyPrincefromstrategiesandfeaturesintranslation.

Throughthisstudy,itisfoundthattranslatorshouldnotomitthecoreoftheorigintextduringthetranslation,onthecontrary,theaestheticinformationasitsultimategoaltobetakenrepresentative.ThisthesiswillbehelpfulforthosescholarswhowantadeepunderstandingaboutBaJin’saestheticthoughtsontranslationandstimulatepeople’sinteresttotheaesthetictranslation.Bysummingupexperienceandlessonslearnedinthisfield,moreandbetterworkswillbepublished.

2.TranslationAesthetics

Aestheticsisaphilosophicalbranchofinquiryconcernedwithbeauty,artandperception.Translationaestheticshasalonghistory.Therearefewpointsabouttranslationaesthetics.Liu（2004:

45）thinksthat“theformalsystemisconstitutedbyphysical,naturalpropertiesandexternalcomponentsthatdirectlybuildupimages”[1].Mao（2005:

97）discussesfewtopicsaboutbeautyinhisbook,includingthebeautyofsounds,themagicwords,emotion,andsoon[2].HedefinestheTranslationAestheticsisthestudyonaestheticsubject,aestheticobjectandtheaestheticactivitiesinTranslationAesthetics,thisisthefirsttimethattranslationaestheticsasthetitleinhisbook,hebrieflyreviewedthedevelopmenthistoryofChinesetranslationaesthetics,concludedthat“thebasisoftheoryintraditionalChinesetranslationtheoryisaesthetics”.Translationaestheticobjectcontainstheoriginalworkandtargetwork;translationaestheticsubjectcontainsreaderandtranslator;aestheticactivitieshavemanydetails,includingaestheticjudgments,aestheticappreciation,creativeaestheticrepresentationandsoon.

Liu（2004:

78）pointedoutthat“thecombinationoftranslationtheoryandartisticaestheticsisthebasiccharacteristicsofChinesetraditionaltranslationtheory”[1]inhisbook,inwhichheanalyzestheaestheticsubjectandaestheticobjectbriefly.Translationisaprogress,includingcomprehension,transformationandimprovement.

2.1AestheticSubject

Nida（1963:

45）said“Translatoristheaestheticsubject.Agoodtargettextnotonlyhasabearingontheaestheticconstituentsofitsaestheticobject,butalsohasabearingontheaestheticsubject’sability.Whentheyarebothintheintegratingaestheticrelationship,translating,astheprogressionofaestheticrepresentation,shouldbeendowedaestheticeffect”[3].Fu（1993:

79）statesthattherearetwoaestheticsubjectsduringtranslatingwork--translatorandreceptor[4].Translatorplaysaveryimportantroleintranslation.Aestheticsubjectsrefertothosepeoplewhocanmakejudgmentunderthespecificcondition.Aestheticsubjectiscalled“secondreality[5]”byTytler（2009:

32）becauseitisdifferentformreality,andithastwotypes:

translatorsandreaders.Translatoristheaestheticsubjectoforiginworks,whilereaderistheaestheticsubjectofthetargetworks.Translatorsplayacrucialroleintranslation.Translatorshouldunderstandtheworksfirst,andthentransformthemeaningtotargetworks.Translatorisaactivepartinaesthetictranslation.Consideringthereceptors,Mark（1997:

124）thinksthattranslatornotonlytransformthemainmeaningtotargetwork,butalsoaestheticconsciousness,cultureaccomplishmentandaestheticexperience[6].

LaoZi（1999:

223）holdstranslatoristheaestheticsubjectoftargettext,heplaysaveryimportantroleinperceiving,judgingandevaluatingoriginaltextandtransformingeverydetailintotargettext,thedeeperheunderstandstheoriginaltext,thehigherthequalityoftranslationworkwouldbe[7].

Liu（2004:

35）thinksthatthetranslatorshouldstarttranslatingworkfromthechildren’sangle[1].Soitisindispensablethatthetranslatortomasterthreeaestheticconditions:

aestheticconsciousness,cultureaccomplishmentandaestheticexperience.

（1）aestheticconsciousness

Aestheticconsciousnessreferstotheperceptionofaestheticsorasenseofaesthetics,theyarefromtranslator’sinstinct.Inchildren’sworld,everythingissoquiteandsimple,everyoneissofriendly,theirthoughtsareverydifferentfromadults’.Ifchildrenthinktheworldisimbalanceafterreadingabook,thebookisnotagoodone.

（2）cultureaccomplishment

Agoodtranslatorshouldhaveoriginallanguageknowledge,targetlanguageknowledgeandotherrelatedprofessionalknowledge.Asatranslatorofchildren’sliterature,thenecessaryknowledgeistoknowcharacteristicsatdifferentages.Ifthetranslatorapplychildren’slanguageforadult,itshouldbeveryridiculoustoreadsuchatranslatedwork.

（3）aestheticexperience

Asatranslator,hemusthaveenoughvocabularyaswellassyntacticresources,andhecanusethemflexiblyindifferentsituations.Duringtranslatingworks,translatorsshouldmastertranslationmethods,whichwillbehelpfultomakehimacquirehisaestheticexperience.Fortranslators,aestheticexperienceisquiteimportant,especiallyinthetranslationofchildren’sliterature.

Readercanbedividedintotwotypes--adultandchildren.Asreaders,theyarequitedifferent.Adultshavetheirownaestheticstandards.Duringreadingworks,theywon’taccepttheinformationfromtargetworks.Becausetheyarecapableofjudging,evaluatingandappreciatingwhattheyread.Alsotheycancomprehendtheknowledgethattheyhaveneverheard,Theirexperienceandrelevantknowledgeoffertranslatorsconveniencetotranslatetargetworks.Whilechildrenarequitedifferentfromadults,childrenlikeliteraturewhichdescribetruth,beauty,honestyandkindness.Theythinkthatitisfullofpeaceandloveintheworldaroundthem.Childrenarecurious,theywillpayalltheirattentiontonewsceneorenvironment,nomatteritisbadorgood.

2.2AestheticObject

AccordingtoLiu’s（2004:

35）opinion,aestheticobjectreferstosourcetext[1].Itsaestheticvaluesshouldbefoundeduponitsaestheticconstituents.Therearetwocategories,oneisaestheticsuperstratumelements,whichreferstothefeaturesoftheformofalanguagesuchasthecharacteristicsofitsphonology,lexiconandsyntax.Itiscalledthebeautyofforminaesthetics,suchasimage,styleofsourcetext.Itcouldbeperceiveddirectly.Theotherconstituentisnon-superstratum.Thereisnodirectrelationshipbetweenitandlinguisticform.E（1978）hasquitedifferentideafromLiu（2004）,hethinksthataestheticobjectincludessourcetextandtargettext[8].Asrealreflectionofthereality,aestheticobjectiscalled“thirdreality”byZhi（2006）[9].Aestheticobjectscancatertopeople’saestheticneeds.Liu（2004）dividedaestheticobjectsintotwoterms:

formsystemandnon-formsystem[1].

Formsystemhastwosalientfeatures.Firstly,itrelatestosusceptiblefeelings.Secondly,thatformisacomplicatedconception.

AccordingtoLiu’sopinion（2005）,thenon-formaestheticconstituentscanbedividedintofourscopes:

sentiments,ideals,imagesandsymbols[1].

3.BaJin’sAestheticThoughtsinTranslation

Asweallknow,BaJin’sworksarethesolidfoundationinChineseliterature,asafamousnovelistinliteraryworld,hehasabundantaestheticthoughtsontranslation.Heprovideslotsofworksforus.Butfewscholarspayattentiontohisaestheticthought.Heisfamousforhisnovelinthemodernliteratureworld.Literatureworldpaysmoreattentiontohisworksatthebeginningofhiscreation.Butthestudyonhisaestheticthoughtinhisnovelhasnotbeengivensufficientattention.ItisnecessarytoexploreandsummarizeBaJin’saestheticthought.BaJin’stranslationbenefitsfromhisextensiveknowledge.Throughthetranslationpracticonchildren’sliterature,BaJinacquiresalotpreciousexperience,alsohehasachildlikeheart,whichmakeschildrenboundupinhisworks.Alltheseexperiencesmakehimtobecomeafirst-classtranslator,andtoachieveagreatsuccessintranslation.

3.1BaJin’sCareerasTranslator

BaJinisawriter,alsoisaproductivetranslator.Allpeopleknowhimasthewriter'sidentity,butfewpeopleknowhisidentityasatranslator.Hehadbuiltnumerouscharacters.Whathedoesintranslationandwritingpusheshimtobeanoutstandingscholar.Manyforeignersseekadviceformhimconstantly.BaJin’saestheticthoughtintranslationintheprocessofhistranslationworkcomefromhisaccomplishmentinChineselanguageandEnglishlanguage,hisrichexperienceandwritingtalent,hisunassumingnessandperseverance,etc...Generallyspeaking,allofthesequalitiesplayacrucialroleinthecomprehensionandreplicationofaestheticsinTheHappyPrince.

BaJinhastheideaoftranslatingTheHappyPrincefewdecadesage,buthejustdidn’tdaretostart.HedecidestostartthetranslationworkinmiddleMarchof1942.Intheresttimeof1942,BaJinfinishedaportionoftranslation,threeshortstories--TheSelfishGiant,TheHappyPrinceandTheNightingaleandtheRose.Afterthatmoment,hewasdisappointedtohisowntranslation,sohelostconfidencesuddenly.Themoreworsethinghappenedduringthewarin1944,hishandwritingwereburnedafterheputthembacktothebookrack.BaJindidn’tgiveup,hestartedagainin1946,twoye