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.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
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