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.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
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