从译者审美主体性角度看杜甫《秋兴八首》的英译
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从译者审美主体性角度看杜甫《秋兴八首》的英译

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四川师范大学学位论文独创性声明本人声明:所呈交学位论文丛逢耋室差圭佳丝角廑蚕丝直《毯送2∑苴》笪墓竖,是本人在导师扬云废指导下,独立进行研究工作所取得的成果。除文中已经注明引用的内容外,本论文不含任何其他个人或集体已经发表或撰写过的作品或成果。对本文的研究做出重要贡献的个人和集体,均已在文中以明确方式标明。本声明的法律结果由本人承担。本人承诺:已提交的学位论文电子版与论文纸本的内容一致。如因不符而引起的学术声誉上的损失由本人自负。£.、学位论文作者:‘淼惶镌签字日期:矽;年f月g日四川师范大学学位论文版权使用授权书本人同意所撰写学位论文的使用授权遵照学校的管理规定:学校作为申请学位的条件之一,学位论文著作权拥有者须授权所在大学拥有学位论文的部分使用权,即:1)已获学位的研究生必须按学校规定提交印刷版和电子版学位论文,可以将学位论文的全部或部分内容编入有关数据库供检索;2)为教学、科研和学术交流目的,学校可以将公开的学位论:艾或解密后的学位论文作为资料在图书馆、资料室等场所或在有关网络上供阅读、浏览。本人授权万方数据电子出版社将本学位论文收录到《中国!学位论文全文数据库》,并通过网络向社会公众提供信息服务。同意按相关规定享受相关权益。(保密的学位论文在解密后适用本授权书)学位论文作者签名:荔名菇导师签名:栖奂灰签字日期:杪哆年S月8tt签字日期∥睁箩月8Et——-, 摘要从译者审美主体性角度看杜甫《秋兴八首》的英译英语语言文学研究生:秦培培指导教师:杨天庆摘要进入20世纪70年代后,西方翻译理论进入“文亿转向”,视野扩大化,译者主体性问题逐渐成为译学研究的重要课题。近年来,译者主体性问题也在国内越来越受到广泛的重视。随着从美学视角研究翻译的兴起与发展,中外学者对译者审美主体性的研究也逐渐详尽起来。笔者发现,审美主体性角度近年来逐渐成为研究诗歌翻译的新视角。中国古诗以其语言优美、意象丰富等艺术特点,具有鬲度研究价值。中国古诗自身特点及英汉语言和文化差异性的存在,决定了在中国古诗英译中译者主体性发挥的重要性。本文以译者审美主体性理论为主要理论基础,对杜甫的代表组诗《秋兴八首》的英译进行研究。笔者在研究中发现,中国古诗的翻译不应只局限于语言层面。本文主要采用案例分析和比较研究的方法。通过对比分析不同译者的英译,来具体研究译者审美主体性在杜甫诗歌英译中的意义。首先,笔者就译者主体性的内涵及国内外研究现状做了总体上的阐述。其次,笔者主要讨论的是美学视角下译者主体性的研究。笔者选取了其中三种美学流派的理论一接受美学、表现论美学、格式塔心理美学进行研究。接下来,基于刘宓庆的翻译美学理论,对翻译的审美主体即译者,在翻译过程中的主观能动性因素及受动性因素,分别做了详尽的分析。再次,笔者就试图以审美主体性的理论为基础,通过分析审美主体性在杜甫古诗《秋兴八首》英译中的体现,研究了译者审美主体性的发挥在具体翻译中的意义。最后,笔者给出了论文的结论。关键词:译者主体性译者审美主体性杜甫《秋兴八首》 II四川师范大学硕士学位论文 OntheTranslationofDuFu’SEightOctavesonAutumnalMusingsfromthePerspectiveofTranslator’SAestheticSubjectivityAbstractMACandidate:QinPeipeiAdvisor:YangTianqingSince1970s.translationstudiesintheWesthaveskifledto”theculturalturn”Andthevisionofstudieshasbeenexpanded.Theissueofthemmslator:Ssubjectivityisbecominganimportantresearchtopicintranslation.Inrecentyears,it:SalsobecomingmoreandmorewidelyappreciatedinChina.Along、兢也theadvancementoftranslationstudiesfromtheperspectiveofaesthetics.theresearchatthet1.anslator。Saestheticsubjectivityisgraduall3,becomingmoredetailedandcomprehensive.Inrecentyears:thestudiesoftheaestheticsubjectix?ivyhavegraduallybecomeanewfocusintheresearchfieldsofpoetrytranslation.Chinesepoetr)7isofhighvalueforresearchpurposesbecauseofitsbeautifullanguageandrichimages.ClassicalChinesepoetrypossessesitselfownfeatures?andEnglishandChineselanguagesandcultureshavedifferencesoftheirowrl.Thesefactorshavedeterminedtheimportantroleofthetr:mslator÷SsubjectivityinthetranslationofclassicalChinesepoetry.Thisthesistakesthetheoryofthetranslator:Saestheticsubjectivityasthetheoreticalbasis.DuFu?SEightOctavesonAutumnalMusingsistakenasitsresearchtext.TheauthorfoundthatthetranslationofclassicalChinesepoetryshouldnotbelimitedinthelanguagelevel.Thecasestudyandcomparativeapproacharethemainresearchmethodsusedinthisthesis.ItanalyzesdifferentEnglishversionstranslatedbydifferenttranslators,makingaresearchattheroleplayedbytranslator’SaestheticsubjectivityinthetranslationofDuFu’Spoems.Thethesisfirstexpoundstheconnotationofthetranslator‘Ssubjectivity.ItalsoIII 四川师范大学硕士学位论文offersageneralexpositiononthestudyoftheissuebothathomeandabroad.SecondlNthethesismainlyfocusesonthestudy’oftranslator‘Ssubjecti、’i℃?fromtheperspecti、?eofaesthetics.Thetheoriesofthreeaestheticschools—theReceptionAestheticsjtheExpressionistAestheticsandtheGestaltPsychologicalAestheticsarechosenasthetheoreticalbasis.Inaddition:basedonLiuMiqing’Stranslationaestheticstheory,thisthesiswillgiverespectiveanal3,sisonthesubjectivefactorsandobjectivefactorsoftheaestheticsubject-thetranslatorwhoisinvolvedintranslation.Then:theauthorwilltakethetheoryofaestheticsubjectivit),asthebasis:analyzingtheaestheticsubjectivity,reflectedinthetranslationofEightOctavesonAutumnalMusings(《秋兴八首》)byDuFu.Theanal3,sisaimstoexplorethesignificanceoftheroleplayedbytheaestheticsubjectivity,inthespecifictranslationprocess.Finally.theauthor0tierstheconclusionofthisthesiS.KeVwords:translatorjSsubjectivity,translator’Saestheticsubjectivity,DuFujEightOctm,esOnAutumnalMusings Contents———————-—————————-—————__—-——_-—___●__●--H-___●__-—_-_--——-_---————●——————_-————————————————__—————_————————一———————_—_-_^__-_-_—-——-●-●—●●—‘—一摘要⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯IABSTRACT⋯⋯⋯⋯⋯⋯⋯⋯⋯-·⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯·⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯··IIIIntroduction‘····-······⋯⋯···········-··-···········································⋯·⋯··⋯···························.1ChapterOneAGeneralSurveyofTranslatorjSSubjectivity‘······································-51.1TheConnotationofTranslator:SSubjectix7it3,⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯·51.2RelatedStudiesonTranslator‘SSubjectivity‘···············’·······'····-·····-················81.2.1StudiesbyOverseasScholars’···················⋯-····⋯·。⋯·⋯⋯···⋯,··⋯··⋯⋯··81.2.2StudiesbyChineseScholars‘·····················⋯··。⋯·⋯⋯·····⋯‘·⋯⋯····‘⋯⋯111.3Summary⋯⋯·⋯⋯⋯⋯⋯··⋯···⋯··⋯·············l·⋯··⋯·⋯⋯。‘··⋯··⋯-···········⋯⋯-······13ChapterTwoTranslatorjSAestheticSubjectiviw。·-·················‘·····。················-_····‘·····‘152.1AestheticOrientationinTranslator‘Ssubjectivit)⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯‘152.1.1.TheSubjectivityofReceptionAesthetics⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯·‘152.1.2TheSubjectivityofGestaltPsychologicalAesthetics‘······-··-···········⋯·‘162.t.3TheSubjectivityofExpressionistAesthetics⋯⋯⋯⋯⋯⋯⋯⋯⋯。192.2TheFactorsofTranslator’SAestheticSubjectivi哆⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯‘212.2,1SubjectiveInitiativeoftheAestheticSubject⋯·····-···’·⋯······⋯⋯·。⋯·⋯222.2.1.1LinguisticCompetenceandStyle‘·-······⋯⋯一·····⋯···-·········。······‘222.2.1.2CulturalCompetence⋯‘·············⋯⋯····⋯····-·⋯⋯⋯⋯⋯⋯·⋯⋯···‘252.2.1.3EmotionalFactors⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯一⋯⋯⋯⋯⋯⋯⋯⋯⋯··272.2.2ObjectiveFactorsLimitingTranslator:SAestheticSubjectivity⋯⋯⋯·‘302.2.2.1DifferencesinLanguagesandCultures⋯·····‘⋯⋯⋯⋯·⋯⋯⋯······‘302.2.2.2AestheticSpatialandTemporalVariation⋯·‘⋯··⋯⋯-··t’,····⋯⋯·‘322.3Summary‘···⋯············································‘·······················’·····················-······‘34V 四川师范大学硕士学位论文ChapterThreeTheTranslator:SAestheticSubjectiviwintheTranslationofEightOctavesonAutumnalMusings’·························································’373.1ABfiefIntroductiontoDuFu⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯·373.2ABriefIntroductiontOEightOctavesonAutumnalMusings’·······················393.3ABriefIntroductiontOFourTranslatorsofEightOctavesonAutumnalMusings’······-··································································································‘423.3.1ABfiefIntroductiontoWuJuntao⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯·-423.3.2ABfiefIntroductiontoSunDayu⋯⋯⋯⋯·.,.⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯423.3.3ABfiefIntroductiontoRewiAlley⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯433.3.4ABriefIntroductiontoAngusCharlesGraham⋯·⋯·····⋯···⋯⋯⋯⋯⋯⋯443.4TheTranslatorjSAestheticSubjectivity.intheTranslationofEightOctavesonAutumnalMusings‘·····················································································443.4.1TheAestheticSubjectivity.inWordTranslation’⋯⋯·⋯⋯⋯·····⋯···⋯⋯443.4.1.1Verbs⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯·⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯443.4.1.2Adjectives⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯473.4.2TheAestheticSubjectivi谚inSentenceTranslation⋯⋯⋯⋯⋯⋯⋯⋯523.4.2.1Non·subjectSentences⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯’523.4.2.2InvertedSentences⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯·573.4.3CulturalBlankness⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯··623.4.3.1Allusion⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯633.4.3.2MoreExamplesofCulture—loadedWords⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯·‘673.4.4TheInfusionofTranslator‘SEmotion⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯72Conclusion⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯·77Bibliography‘⋯⋯·⋯⋯·····⋯⋯⋯⋯·⋯⋯············⋯⋯⋯⋯·····⋯···-····⋯·⋯⋯⋯⋯⋯··⋯⋯⋯⋯·79Acknowledgements⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯83VI IntroductionSince1970sjtranslationstudiesintheWesthaveshiftedtC.“theculturalturn?,Theresultistheformationoftheculturaltranslationtheoryforthetargetlanguageculture.Amongthesestudies,theinfluentialonesincludethePolys3,stemTheoryrepresentedbyEven-ZoharandGideonTour3,:andtheTheoryofManipulationSchoolbyAndr6Lefevere,SusanBassnett?andTheoHermans.Theculturalturnoftranslationstudieshasplacedtheresearchatthesubjectivityoftranslationontheforegroundoftranslationstudies.Simultaneouslytranslator’’SsubjectivityhasbecomeorleoftheimportantresearchtopicsInChina,therehavebeensomeachievementsinresearchattranslationsubjectivit3.,.Since2003,China:Stranslationcirclehascalriedoutadebateconcemingtheissueoftranslator?Ssubjectivity..MuLei:professorfromGuangdongUniversity.ofForeignStudies,discussedthedevelopmentoftranslator‘Sstudies.XuJun:professorfromNanjingUniversity,interpreted“creativetreason”.ZhaMingiianofShanghaiInternationalStudiesUniversity,exploredtheconnotationofthetranslator:Ssubjectivityfromtheperspectiveofthefouraspects--thetranslationprocess,theculturalawarenessofthetranslatorandthatofthereader,theinterrelationshipbetweenthetargettext。andthesourcetext,aswellasthesubjectivityofthetranslatorandthatoftheoriginalauthor.ProfessorLvJunoftheInstituteofForeignLanguagesinNanjingNormalUniversity,wasdevotedtothestudiesofConstructivismtranslationandTranslationCriticism.ZhaMingiian,TianYuandXuJun,alltaketheaestheticcreativityasanimportantfactorconcerningthetranslator’Ssubjectivity.Fromtheperspectiveofaesthetics:translationstudieshaveadvanced.Alongwiththistrend,thestudyconcerningthetranslator’Saestheticsubjectivityis 四川师范大学硕士学位论文undergoing.TherearevariouscontemporaryaestheticschoolsintheWest,includingtheReceptionAesthetics:representedbyIser:.theExpressionistAesthetics:representedbyCroce;andtheGestaltPsychologicalAesthetics.Alltheseschoolshavedoneresearchesontheissueoftheaestheticsubiect.Inrecentyears.these—r,Westerntranslationtheorieshavebeenappliedtothestudiesoftranslationaesthetics,expandingthevisionoftheresearchattranslationaesthetics.InChinkTranslationAestheticshasbeenadvancedexplicitlyasatheorythatcanbeappliedtotranslation.Andthetheorygivesspecialattentiontothestudyoftheaestheticsubject·-thetranslator.ScholarsinvolvedinthesestudiesmainlyincludeFuZhongxuan,LiuMiqing,andMaoRonggui.Theirstudiesmainlyfocusonissuesconcerningtheaestheticsubject:scharacteristics,prerequisites!andpsychologicalaspects.Inrecentyears,thestudiesoftheaestheticsubjectivityhavegraduallYbecomeanewfocusintheresearchfieldsofpoetrytranslationClassicalChinesepoetrypossessesitsownspecificcharacteristics.Inaddition,thereexistvariousdifferencesbetweenEnglishandChineselanguages.Thesefactorshavemadethetranslator?SsubjectivitybecomeimportantinitsroleinthetranslationofclassicalChinesepoetry.Atpresent,bothinChinaandabroad?scholarsoftenuseclassicalChinesepoemsassamplestoprobetheissueoftheaestheticsubjectivity,andinthisfieldstillexistsmuchspacetofillinwithnewresearchresultsconcerned.Accordingly,theauthortakesEightOctavesonAutumnalMusings(《秋兴八首》)forcasestudies,comparifigdifferentversionstranslatedbydifferenttranslators,andfindingoutthewaysoftheirtranslation.Theauthorhopesthatthisresearchwillbeservedasareferenceforthedevelopmentofthestudiesoftranslator?Saestheticsubjecti、,ityandtothefurtherresearchofEnglishtranslationofDuFu:Spoetry.Theresearchessayconsistsoffollowingthreechapters:Chapteroneistobrieflyintroducethetranslator!Ssubjectivity,andtolistthestudiesonsubjectivitybyscholarsindifferentareas,bothathomeandabroad.2Chaptertwoistofocusonthetranslator:Ssubjectivityfromtheperspectiveof Introductionaesthetics,andtoillustratethefactorsinfluencingthetranslator’Saestheticsubjectix,ity.Chapterthreeisthemainpartofthisthesis.DuFu’SEightOctavesonAutumnalMusingsistakenforcasestudiestowhichthetheoriesmentionedaboveareapplied,Thefinalpartistheconclusionofthisthesis 四川师范大学硕士学位论文4 AGeneralSurve5。ofTranslator‘SSubjectivit3ChapterOneGeneralSurveyofTranslator’SSubjectivity1.1TheConnotationofTranslator’SSubjectivitySincethe17thcentury,DescarteshasclearlyputforwardtheissueofhumansubjectivityinWesternphilosophy.Later,thetheorywasadx,ancedb3,KantanddevelopedbyHegel.DuringthetimeofHusserl,thetheory.fromitsacmetOdeclinefocusedoninter-subjectivityWhatissubjectivity?AccordingtoChenXianda,aCmnesephilosopher,“Subjectivityistheprescriptionofmanasthesubject!ratherthantheprescriptionofthesubjectasman...Thelattercanbecalledhumanity,notsubjectivity..Basically,subjectivity.referstoman:spracticalityandcreatix,ity,which,inshort.istheuniquel—mtl‘atl’veofman”(115)Anotherscholar,WangYuliang.definedsubjectivityas“theexternalizationoftheinternalpowerofthesubjectintheobjectiveactivity”(35).Hebelievesthatsubjectivityistheuniquefeatureofthesubject.ThisfeatureCan“initiativelychange?affectandcontroltheobject,makingtheobjectservethesubject”(35).Hesummarizedtheconnotationofsubjectivityasthreebasicaspects:proceedingfromthesubjectandmakingtheobjectservethesubject;objective:role:i.e.theuniquefeatureofthesubjectintheobjectiverelationbetweenthesubjectandtheobject;theexternalizationoftheinternalpower.Besides,Wangsummedupthecharacteristicsofsubjectivi母一“First,subjectivityistheunityofpracticalitya11dinitiative.Second,subjectivityistheunityofsubjectivityandobjectivity.Third,subjectivityistheunityofinitiativeandpassivity”(37).Theissueofsubjectivityisalsoatopicconcernedforthetranslationcircle.Currently,therehasbeennounifiedunderstandingofthe‘topicoftranslation5 四川师范大学硕士学位论文subjectivity.inthetranslationresearchcommunity.XuJundefinedthetranslationsubjectinthenarrowsenseaSwellasinthebroadsense.TheformerreferstOthetranslator;whilethelatterreferstOtheauthor.thetranslatorandthereaderAccordingtOZhaMingjian.inordertounderstandtheissueof“whoisthetranslationsubject”.oneneedstOunderstandtwoconcepts一“translation‘’and“translationsubject”.Ifthe“translation?:intranslationsubjectivityspecificallyreferstOtheactoftranslationitself.thenthesubjectofthetranslationactisundoubtedlythetranslator.Theoriginaltext,theoriginalauthorandreadersarealltheobjectsinvolvedinthetranslationpracticeactivities.Theoriginaltextistheobject,whichthetranslatorshouldunderstand.interpretjandre-create;theoriginalauthoristheresearchobjectasreferencethathelpsthetranslator’Sunderstanding,interpretation:andre·creationactivities;andthereaderisthetargetobjectintranslator:Stranslationpractice.Ifweunderstand“translation::thisway,thentranslationsubjectivitywillrefertotranslator’Ssubjectivity.Ifthe‘'translation’‘intranslationsubjectivitydoesnotspecificallyrefertotheactoftranslationitself,butreferstOalltherelevantfactorsinthewholeprocessoftranslationactivitiesjthenamongthesefactorsjinadditiontothetranslator,therewillbetwomoresubjects—theoriginalauthorandthereader.Accordingtothisunderstanding,thetranslator,theoriginalauthoLandreadersareallthetranslationsubjects.ThetranslationsubjectivitythenreferstOthetranslator’Ssubjectivity,theoriginalauthor’Ssubjectivityandthereader‘Ssubjectivityandtheirintersubjectivity.InhisVV'hoIstheTranslationSubject?,ChenDaliangquotedtheanalysisofChenXiandaandreachedfurtherinstructionfromaphilosophicalpointofview:6themostfundamentalcontentofsubjectivityistheuniqueinitiativeofmanasthesubject.Themostintegratedfeatureoftheinitiativeisthemostprominentandconcentratedqualitymanifestedbythesubject.Buthe(ChenXianda)ignoredthepassivitysideofsubjectivity.Inthefinalanalysis,subjectivityisthedialecticalunityofinitiativeandpassivity.Inotherwords,subjectivityisonlymanifestedintheobjectiverelation AGeneralSurwesofTranslator‘sSubiecti'、-it3一-———————————————————__——--—●——_——_I—_-●__-h—_●———————_—————_——_—————-————————_●—————————————————————一——_——_____--———————————————————一betweenthesubjectandtheobject.Therefore.whenweunderstandtheconnotationofsubjectivity:weneedtoavoidtwoex’-remes:ignoringtheconstraintsoftheobject:andexaggeratingtheinitiativeofthesubject;givingtoomuchemphasisontheconstraintsoftheobjectandcompletel3,excludingtheinitiativeofthesubject.(4)Fromtheviewpointofhermeneutics:YuanLiheldthatthetranslatoris“theonlysubjectiveelement”intranslation.ShealsopointedOUtthat“theessenceoftranslationisnottoseekorrestorethemeaningoftheoriginalwork,bUtaprocessforthetranslatortoinitiativelyunderstandandinterpretandapresentationofthetranslator?Sexistence.Atthesametime÷itisalsothetranslator:Sfurtherin—depthunderstandingonthebasisofunderstandingothers”(405).Fromtheperspectiveof‘'thesubjectofliterar3,translationisstillhuman”?YangWunengconcludedthat“writers,translatorsandreadersareallsubjectsintranslation”(3).XuJuanandZhaMinNianpUtforwardtheissueoftranslators:subjectivit)7researchandanalyzedtheconnotationandmanifestationoftranslators÷subjectix,ityfromthefollowingfouraspects:theprocessoftranslation;thetranslator:Sculturalawarenessofthetargetlanguageandawarenessofreaders;theintertextualrelationshipbetweenthetranslatedtext,theoriginaltextandtheliteratureofthetargetlanguage;andtheintersubjectiverelationshipbetweenthetranslator,theoriginalaUthorandreaders.TheydefinedtranslatorjSsubjectivityisthetranslator。Sinitiativeasthetranslationsubjectinordertoachievethepurposeoftranslation.Itisunderthepremiseofrespectingthetranslationobject.Thebasicfeaturesoftranslator÷Ssubjectivityincludethetranslationsubject‘Sconsciouslyculturalawareness,culturalcharacterandculture,.aSwellasaestheticcreativity.(22)TuGuoyuaninterpreted:translator:Ssubjectivityisthetranslator’Sinitiativemanifestedintranslationinordertomeettheneedsofthecultureofthetarget 四川师范大学硕士学位论文language.Thetranslatorisaffectedandconstrainedbytheedgesubjectortheextemalenx,ironment.andhisownhorizon.Translator’SsubjectiviD7hasthecharacteristicsofautonomy:i‘ni‘ti’ati‘ve,purpose.creativity.:etc.Anditreflectsakindofartisticpersonalityconsciousnessandcultural:aestheticcreativiD,.(9)ZhongWeiheconcludedtheconnotationoftranslator’Ssubjectivitybysa),ing:translator‘Ssubjectivityistranslator‘Simtiativemanifestedintheentiretranslationactivitiesinwhichthetranslator,actasthesubject.Itisunderthepremiseofrespectingtheobjectivetranslationenvironmentandisonthebasisofunderstandingtheculturalneedsofthetargetlanguage.Itreflectstheconsciousnessofthetranslatorintheaspectsoflanguageoperation:culturalcharacteristics,artisticcreation:aestheticstandardsandthehumancharacterandmoralsjetc.Autonomy?initiative,purpose,creativity,passivityareallitscharacteristics.(43)1.2RelatedStudiesonTranslator’SSubjeetivity1.2.1Studiesbyo、,erseasScholarsSince1970s.translationstudiesintheWesthaveshiftedtO“theculturalturn”whichresultedintheformationoftheculturaltranslationtheoryforthetargetlanguageculture.Amongthesestudies?theinfluentialonesincludethePolysystemTheoryproposedbyEven—ZoharandGideonToury,aswellastheTheoryofManipulationSchoolbyAndr6LefeverejSusanBassnett,andTheoHermans.TheculturalturnofTranslationStudieshasplacedtheresearchinthesubjectivityoftranslationontheforegroundofTranslationStudies.Simultaneouslythetranslator’Ssubjectivityhasbecomeoneoftheimportantresearchtopics.Lefevere,forexample,interpretedtranslator!SsubjectiveroleintranslationbysayinginhisbookTranslation,Rewriting&theManipulationofLiteraryFame“AtranslatorCannotonlyendowtheoriginalworkwithanewlife!heCallalsodecidewhatkindoflifewouldbeendowed,andhowthetranslationwouldmergeintothetargetculture”(10). AGeneralSurvey’ofTranslator’sSubjecti、,ibFurthermore:Lefevere’SotherworksincludingConstructingCulture—EssaysonLiteratureTranslation(CO—editedwithBassnett),Bassnett’SIra,nslation&udiesandComparativeLiterature。’AcriticalIntroduction。etc.alldirectlyrelatedtotheissueoftranslator‘SsubjectiviW.Thesestudiesaremainlyfocused3ntwoaspects:thedeterminationofthesubjectivepositionofthetranslatorintranslation;therelationshipbetweenthetranslatorandhistory,societyandculture。GideonTouryputforwardthat“translationisanorm-governedactivity,in、Ⅳhichthetranslatormustmakedecisionsbetweenthedifferentnormsofthesourcesystemandthetargetone”(56).AccordingtoSkopostheory.,translationisapurposefulaction,inwhichhumanparticipationisinex,itable.Besides;GeorgeSteinerhasintroducedhermeneuticstOtranslation,andhelistedfourstepsoftranslation~“trust,aggression.incorporationandrestitution”(151).Inhisview,thetranslatorplaysanimportantroleintranslation.DeconstructiontheoryprovidesanewperspectivefortranslationwhichmadepeoplestarttopayattentiontOthetranslator?Ssubjectiveinitiative.ValeryLarbaud,aFrenchthinker,probedtherights;mdobligationsofatranslator.HeproposedthatcertainfreedomshouldbegiventO+filetranslatorwhoisinvolvedintranslation.AntonieBermandevelopedValeryLarbau:Sview.InhisbookentitledTowardaTranslationCriticism:JohnDonne,AntorileBermanproposedtheviewof“approachingthetranslator.?‘Withtheresearchonthetranslator’Sidentity,statusandrolejpeople:Sunderstandingoftheissue“whoisthesubjectintranslation”isgraduallydeepening.AntoineBermansystematicallyexploredthisissue.InthebookTranslationCriticism."John-lhng,Bermanmainlydiscussedthebuildingoftranslationcriticismtheory.Inhisvie‘彤intheprocessofresearchingtranslation?especiallycriticizingtranslationjthesabjectoftranslationnaturallybecomesthefocus.HeheldthatneitherthetheoreticaJstudyoftranslationcriticismnorthespecificimplementationoftranslationcriticism,canavoidansweringthequestion:Whoisthetranslator?Andtheyallhavetotakethetranslatorasthebasicstartingpoint.Forthis,heproposedaresoundingslogan:“approachingthetranslator”.Undoubtedly,itisreasonabletOemphasizethestudyof9 四川师范大学硕士学位论文thetranslatorandputthefocusoftranslationcriticismorlthetranslator.Because,aSBermannoted:thetranslator’Stranslationmotivationandpurpose:thetranslationstancehetakes,thetranslationprogram‘hedevelops.aswellaSthetranslationapproachheuses:allowsthetranslatortobethemostpositivefactorintranslatiorwOncehisattitude,methodsandstancesareestablished,thetranslatoralsogiveshimselfaposition.Inhistranslation,“every.wordbecomesanoath”(Berman75).Inthissense:thetranslatorisundoubtedlythesubjectintranslationactivitiesSincethelate1980s,theissueoftranslationsubjectivib,haSbeenplacedinthepost-colonialcontext.Ithasbeenstudiedwithculturalidentity:feminismandotherissuesinthes锄econtext.WorksaSBassnet:SPosl.Colonial乃artslation.TheoryandPractice(co—editedwithHarishTrivedi).LawrenceVenuti:STheTranslator’SInvhi.ibility,DoughlassRobinson:STranslationandEmpire,RomanAlvarezandM.Carmen—AfricaVidal’STranslation,Pou,er.Subversion.TejaswiniNiranjana:S&tingTranslation..‘History.Post-Structuralism.andtheColonialContext,etc.alltaketranslator’Ssubjectivityandrelatedtopicsasimportantresearchcontent.Furthermore:TranslatorsthroughHistorybyCanadiantranslationtheoristJeanDelisleandJudithWoodsworth!TheTranslator’STurnandHihoTranslates?Translator0SubjectivitybeyondReasonbyRobinson,andTheScandalsojTranslation—TowardsanEthicsofDifferencebyVenuiti:areallimportantworksontranslationsubjectivity.Amongthosebooks:theTranslatol。SthroughHistoryprintedoutbyJohnBenjaminsPublishingCompanytooktranslatorsaSitsfocus,discussingvariedtopicsrelatedtothestudiesoftranslatorsandthedevelopmentoftheirnationallanguages;translatorsandtherisingofnationalliterature;translatorsandtheirknowledgeformationandspreading;translatorsandthecontrolofrights;translatorsandthespreadingofreligion;translatorsandthecontinuityof、,alues;aSwellaStranslatorsandtheformationofhistory.ThisbookcomprehensivelyexploredthesignificantcontributionmadebytranslatorstOthehumanculturaldevelopment.ItisparticularlyworthmentioningthelaStthreebooks,fromwhichwealreadyseethereturningsignoftheresearchonliterarytranslationsubjectivity,i.e.theretumingoftheresearch AbeneralSur've-,otIranslatorSSubiectix’in——————‘————————‘——_——__—--_——___—_—-__--●---●—__———————__-_———-—————‘————————●———————_●—————_——-————一——-——___-__-———————————————————一ontranslatorhimselfandthemoderateandethicalreturningoftheresearchontranslator?Screatix7时.Besides:TranslationandGender."Translatinginthe‘Eraof'Feminism’砂CanadianfeministtranslationtheoristLuiseVonFlotoⅥ,.andGenderinTranslation—culturalIdentityand乃PpoliticsofTransmissionbySherrySimonstudiedtheissueoffemaletranslator’Ssubjectivity.Inaddition.thereareDiscourseandTranslatorandTheTranslatorasCommunicatorbyEnglishtranslationtheoristsBasilHatimandIanMason.Thesetwoworksdiscussedtranslator:Ssubjectivityfrom也eviewpoimoffunctionallinguisticsandcommunicationscience.1.2.2StudiesbyChineseScholarsInChina,therehavebeensomeachievementsintheresearchontranslationsubjectivityinrecentyears.InChina,,YangWunengisoneoftheearliestscholarstopayattentiontOtheissueoftranslator?Sposition.Asfarbackasthemid一1980s,hetookmodernhermeneuticsforthetheoreticreference.Tohim.1iterarytranslationiSacycleofinterpreting,acceptingandcreating.HeattemptedtOgrasptheroleandstatusofthetranslatorfromthisdynamiccycleactivity.Lateron?hepublishedseveralworks,inwhichheexploredthepsychologicalpersonalityoftheliterarytranslatorandmadeaseriesofviewpointsontheissueoftranslator:Ssubjectiviv,.InThecycleofInterpretation,Acceptance.andCreation,hesaid,“likeotherliterary,activities,thesubjectofliterarytranslation,isalsoman,i.e.thewriter:translatorandreader”(3).Obviously:inhisview,there:rethreesubjectsintranslation:thewriter,translatorandreader.Inthisway,MrYangbroadenedthescopeofresearchontranslationsubjectsfromthestatusofasingletranslatortotheoneoftheaathor,translatorandreader.Since2003,China’Stranslationcirclehascarriedoutade‘braeconcerningtheissueoftranslator’Ssubjectivity.ChineseTranslationhasopenedupthecolumnontheresearchoftranslationsubject,wherearticlesfocusingonthisissuewerecontinuouslypublished.Theissueoftranslationsubjectivityhasbecomethehotspot 四川师范大学硕士学位论文andfocusintranslationstudies.Thesearticlesofferedas),stematicandprofoundtheoreticaldiscussiononsuchissues:whoisthetranslationsubject;theconnotationoftranslator:Ssubjectix,ity;andconcretemanifestationoftranslator:Ssubjectivity,etc.Meanwhile.they,highlightedthedominantpositionofthetranslatorasthecreatorofcultureandgreatlyhavedeepenedtheresearchontranslationsubjectivity.TherepresentativeonesincludeCreativeTreasonandEstablishmentofTranslationalSubjectiviO,byXuJun?DiscoveryandResearchofTranslationalSubjectbyMuLei!OntheSubjectil,iOjoftheTranslatorbyZhaMingjianandTianYu?andTheTranslator0Subjectivi0’.‘AHermeneuticExpositionbyTuGuoyuan.ProfessorMuLeifromGuangdongUniversiD’ofForeignStudiesdiscussedthedevelopmentofthestudiesontranslatorsandalsoofferedrelevantsuggestionsfromtheperspectiveofthe“discover?"‘‘oftranslator’Ssubjectivity.ProfessorXuJunfromNanjingUniversityinterpretedthe“creativetreason.”ThroughhisinterpretationjheattemptedtOdiscoverthesubjecti'lrit5roftranslationbetweenthetwopoles:fideliD7andtreason.ProfessorXuJuninterpretedthetranslationsubjectbysaying“thetranslationsubjectivityshouldbereferredtOthetranslationsubjectandtheartisticpersonalityconsciousnessandcreati、,i睁.whicharereflectedinthetranslatedtext.Itscoreisthetranslationsubject’Saestheticrequirementsandaestheticcreativity”(9)ZhaMingjianofShanghaiInternationalStudiesUniversity,exploredtheconnotationofthetranslator’Ssubjectivityfromtheperspectix7eoffouraspects--thetranslationprocess;theculturalawarenessofthetranslatorandthatofthereader;theintertextualrelationshipbetweenthetargettextandthesourcetext;thesubjectivityofthetranslatorandthatoftheoriginalauthor.Healsodefinedthat“translator:Ssubjectivityisthesubjectiveinitiativedemonstratedintranslationactivities.ItisonthepreconditionofrespectingthetranslationobjectandaimstOachievetranslationpurposes.Itsbasiccharacteristicsincludethetranslationsubject’Sculturalawareness,personalityandculture,aswellasaestheticcreativity”(22).ProfessorLvJunoftheinstituteofforeignlanguagesinNanjingNormalUniversity.hasbeendevotedtOthestudiesofConstructivismtranslationandTranslationCriticism.Achapterinhis AGeneralSurvex,ofTranslator。SSubiectivi℃,———-—--—-----—---—--—-----—---------—----—-—--—-----—--—---------=--—-----—---------.------=-—......=--—...一......—.....,....................一bookcalledCOurseinEnglish—ChineseTranslationdealswiththestudiesofthetranslationsubjectiviu7.Itgivesacomprehensiveexplorationonseveralaspects?includingthetranslator’Ssubjectiveformationjthetranslator:Sprior-knowledgeandthecreativityoftranslation.aswellasthemotivationoftransl.ationbehavior。ZhaMingjianjTianYuandXuJun.alltooktheaestheticcreativityasanimportantfactorconcerningthetranslator?Ssubjectivity。AbouttheissuesofthetranslationsubjectivityjYuanLishowedconcernsbasedonherunderstandingofthenatureoftranslationactivities.Shesaid:,Actually:asweseethetranslatedtextasaproductofself-containedartisticcreationwhichisdeformed,transformedandinfusedwithtranslator’Ssubjectiveaestheticintention,ratherthantheunderstandingofthetranslationsimplyonthewordslex,elortryingtOfindthecorrespondingshadow"oftheoriginaltext,thenwehavetofacethequestionsconcerningtranslationsubjectivityanditsdynamicspace.(402)AfterananalysisonAbrams?SschemacontainingfoⅦ‘artelements.sheproposedanewcycleofschemawhichisbasedOnthetranslatoranddirectlyrelated、Viththeotherthreefacts.i.e.theoriginaltext.thetranslatedtext.andtheworld一’,(includingthetargetlanguagereaders),thusftlrtherclearingthat’'thetranslatoristhecenteroftheinterpretationcycleandtheonlyelementofsubjectivity”(袁莉406).1.3SummaryInphilosophyarea.there:realsolotsofexpositionsabouttheissueofsubjectivity.Forinstance,Descartes’“IthinkthereforeIaln”,Kant:S“humannaturallegislation‘!andHegel’S‘'AbsoluteSpirit":allprobedthesubjectiveStatusofthehumanonthespirituallevel.Feuerbachputforwardthat‘'Manisthe∥rstinposition”:‘‘Manisthefirstentityofpractice”,whichattributedHumansubjectivitytothesubjectivityintimeactivities.Marxproposedthethinkingofpractice—basedhumansubjectivity.ChinesescholarWangYuliangalsoofferedhisownopinion,by 四川师范大学硕士学位论文outliningtheconceptandcharacteristicsofsubjectivity.As‘‘theculturalturn?:puttheissueoftranslationsubjectontheimportantagendaintranslationstudies,theissueoftranslator’Ssubjectivitybecameanimportantresearchtopicintranslation.Scholarsfromvariouscountriesstudiedthistopicfromdifferentangles.ForeignscholarsmainlyincludeLefevere,Bassnett,Venuti:GideonTour?,!GeorgeSteiner,AntonieBerman:etc.Inrecentyears:theissueoftranslationsubjectivitybecamethehotspotandfocusintranslationstudiesofChina‘ManyChinesescholarslikeXuJun?MuLei,LvJun,ZhaMingjian!TianYu,etc.allpublishedsomerelatedarticlestOdiscussthetopic.Alongwithpeople:Sin—depthunderstandingofthenatureoftranslationacti、r7ities,theissueoftranslatorjSsubjectivitywillcallmoreandmoreextensiveattention.Asanimportantpartoftranslationstudiesjtheissueisworthyofmorein—depthandcomprehensivestudy ChapterTwoTranslator’SAestheticSubjectivily2.1AestheticOrientationinTranslator’Ssubjectivit)2.1.1.TheSubjectivity.ofReceptionAestheticsReceptionAestheticsisalsoknownasReceptionTheory,whichroseinthe1960s.ItisacriticismmethodofresearchingthecontemporaryWesternliterature.ItmainlyreferstOtheindeterminacyofthetext?Smeaningandthecentralroleofthereader.Itstressesthereader’Sd3naamicroleincomprehensionprocessTranslationstudiesjwhichtookReceptionAestheticsasthetheoreticalbasis:gavefullattentiontOthesubjectivepositionofthetranslaor.Somescholarsconsideredthat“inthetransferringprocessithappens埘thvalue-adding.devaluation,deviation:anddefectofinformation.AllthisismainlyduetOthereceptioncapability.ofthetranslator.thereaderorlistener一(了了梦之27).Somescholarsfurtheremphasizedthecreativityofliterarytranslation:puttingforwardthat“thetranslatorshouldnotalwayspassivelyaccommodatethereaders;rather,he/sheissupposedtObreak,surpass,createreadersandbroadenthe‘expectationhorizon’ofreaders。..Thusenhancingthelanguageandculturalcompetenceofthetargetreaders.ThisistheconsiderationforTLreadersinamorepositivesense”(洪明59).“Translator’Ssubjectivity.existsinthewholeprocessoftranslation”(查明建,田雨22).Thetranslator,astheaestheticsubjectoftheoriginaltext,isalsothereaderoftheoriginaltextandthecreationsubjectincertainsense.TheReceptionAestheticsprobesintothemattersofBlankness,SpotsofIndeterminacyandConcretization.Thesestudiesarehelpfultothetranslatorinexertingsubjectivityandchoosingstrategiesoftranslation. 四川师范大学硕士学位论文Specifically:thetranslatorfirstactsasthereaderintranslationactix7ity.TheReceptionAestheticsputforwardthattheliteraryworkshaveappellstmkmr,meaningthat“literaz3,worksexistblankness.andspotsofindeterminacy"(朱立元12)jwhichcallthereadertOfillandspecify.Withoutspecifyingtheindeterminacyandfillingtheblankness:translator‘Sreadingactivitieswouldbedifficulttocarryon.Therefore?intheprocessofreading?thetranslatorwouldusetheirimaginationandcreativethinkinginordertospecifytheblanknessandspotsofindeterminacy.Meanwhile:thetranslatorwillanalyze:judgeandunderstandtheoriginaltextbasedonhisOVvTIuniqueview,culturalcultivationandaesthetictaste,etc.Afterthisprocess:whatformsinthemindofthetranslatorisnolongertheoriginaltext,butarenewedproduct——“thesecondtext‘:createdbythetranslator’Sperceptionandunderstanding.Therefore,when“thesecondtext”isproducedbythetranslator,whatresultsiSinex,itablydifferentfromtheoriginaltext.Differenttranslatorsmayinterpretthetextfromdifferentangles:thusformingdifferenttranslationversions.AccordingtOtheReceptionAestheticsjafterreadingcompletion,whichisthepreliminaryactivityinwholetranslation,thetranslatorwillplaytheroleoftheoriginalauthor!creatingtheoriginaltextinthetargetlanguage.Thetranslator?asthesubjectofcreation,inordertoallowreaderst0understandandacceptthetranslatedtext,willtaketheinitiativetOconsidertheacceptingcompetenceandaestheticrequirementsofthereaders,thusintegratingthetargettextandthehorizonsofthetargetreaders.Intheentireprocessoftranslation:thetranslatorwillcontinuouslyadjustandre—createthetranslatedtextjinanattempttomakereadersofthetranslatedtextenjoytheeffectasmuchasthatproducedwhenthereadersofthesourcelanguagereadtheoriginaltextInthewholeprocessoftranslation:theroleofthetranslator?Ssubjectivityhasbeenamplydemonstrated2.1.2TheSubjectivityofGestaltPs),chologicalAesthetics“Geshita(格式塔)”istheChinesetransliterationoftheGermanword Translator。sAestheticSubjectivit3”Gestalt”?meaninganorganicandcoherententirety.TheGestaltpsychology,factionstressesthattheentiretyisnotequaltowhatthewholepartsputtogether;theentirety.existsbeforepartsandrestrictsthenatureandsignificanceofparts.TheGestaltqualityandGestaltimageryarethecoreconceptsofGestaltpsychology.In1890jtheAustrianpsychologistGVon.Ehrenfels(1859—1932)firstproposedthe“Gestalqualrtat”.Gestaltqualityreferstotheo、,erallcharacteristics:i.e.theorganizingandreconstructingfunctionofperceptionthinking.kandthenewqualitygeneratesfromthisfunctioniscalled“Gestaltquality一.“Gestaltqualit),’:doesnotbelongtoanyspecificpart,butrelatestoeverypart.Itcoversallpartsandgivesthemnewmeanings.TheGestaltquality.isintegrated:stableandun-separated.Combinedwitheachother^theseGestaltqualitiescanformaGestaltimaged,.TheGestaltimageryistheimagery.withcompleteGestaltqualityGestaltqualiD'isincludedinGestaltimageu,.TheGestaltpsychologicalaestheticsopposestheresearchmethodsandviewswhichanalyzetheentiretyasisolatedpartsandthenusetheisolatedpartstOillustratetheentirety.TheGestaltpsychologicalaestheticsmakesaspecialemphasison“dynamic’’Viewsorthe“top-down”approach.Inshort.GestaltpsychologicalaestheticsgivesgreatimportancetOtheaestheticeffectoftheentirety,thedynamicroleoftheperceptionandtheintegrationbetweenvariouspartsInrecent3rears,GestaltpsychologicalaesthetictheoryhasbeenappliedtOthestudy,oftranslation,expandingtheresearchhorizonoftranslationaesthetics.JiangQiuxiaandotherscholarsaretherepresentativesinthi,;area.InthebookAestheticProgressioninLiteraryTranslation.Image—GActualization:Jiangproposedtheconversionmodeof‘二Gestaltimagery’?intheprocessofliterary.translation.ManyacademicpapersalsofocusedontranslationfromtheGestaltpsychologicalaestheticpointofviewanddeepenedthestudiesoftheaestheticsubjectandthesystemofaestheticconsciousnessintranslation.Theliterarytext,asanartform,hastheaestheticfactorsoutsidethelanguageinformation.Thetranslator,intheprocessofreadingandunderstandingtheoriginal 四川师范大学硕士学位论文textjwillgothroughdualactivities--languagecogrtitionandaestheticexperience,throughwhichthetranslatorgettounderstandtheoriginaltextandformaGestaltimagery-inthemind.Thenthetranslatorrecreatestheimager3,inthetargetlanguage,thusrealizingtheaestheticconversionandreproductionoftheartofliterature.ThisistranslatorjSrecreatingprocessoftheGestaltimageryinliterary.translation,alsoaprocessinwhichthetranslatorplat,Stheroleasthesubject.FromthemodeoftheGestaltaestheticpsychology,thetranslator:Sunderstandingofthetextisnotlimitedinthelevelofthelanguagecompositionandsyntacticstructure.ThetextshouldbeknownastheGestaltqualityoftheentirety,i.e.asanorganicandintegratedentiretyformedb37integratingeveryindividualcomponent.Onlyinthiswaywillitbepossibletobreakthroughthelimitationsoflanguageform,whilemaintainingtheoriginalcharminthetargetlanguage.IntheconversionprocessoftheoriginallanguagetOthetargetlanguage,thecorn,ersionmediumthatexistsinthemindofthetranslatorshouldbetheinformationinvolvedinonelanguageitself.Throughthisinteractioncontinuumjaestheticexperienceoriginatesduetotranslator‘Sknowledgethatisactivatedbythelanguageinformationjandtheaestheticexperience,togetherwiththelanguageinformation,formanoverallpicture.TheoverMlpictureisparticularlyimportantinliterarytranslation,asthetranslatedtextnotonlyneedstOensureacompletereproductionoftheinformationpicture,butalsoneedstOensureahigherlevel!i.e.theintegrityandcoordinationofimageryandemotion.Therefore,thetranslatorneedstowhollygraspliteraryworks.Inshort:theconversionofGestaltimagerynotonlymeanstheeffectivecommunicationofaestheticexperience:itCanalsohelpthetranslatortOexerttheimtiativeeffortsunderthepremiseofgraspingthestyleoftheoriginaltext.Inaddition,astotheissueoftheparticularityandlimitationsofthetranslatorasaspecialaestheticsubject,JiangQiuxiaofferedprofoundanalysisinherbookconcemingthefactthatwhenthetranslatortransformsthelinguisticmeaningandaestheticimageryintothestructureofthetargetlanguageform,thereisapsychologicalrealizationprocess.Thecommonalitybetweenlanguagemeaningand JranslatorSAestheticSubjecti、,lt、’。‘。—————————————。——————‘。—’’—————’————‘——‘-—_———_——————————^——··___·-————————‘—___-·-_———————————-_一——_————————-————————_—-_-_—_———一aestheticexperiencedeterminesthepossibilityofimagetransformation.Atthesametime!thetranslatorandtheauthormayhavedifferentschemasoverthestructureofthesameimagery.AndtherewillbelargerdifferencesintheschematicstructureswhenthecultureoftheoriginaltextiSdifferenttothecultureof‘出etranslator.Intheprocessoftransformingtheimageryjthetranslatorshouldgivefullplaytotheaestheticimagination:aestheticthinkingandotherpsychologicalmechanisms.Ontheonehand:heshouldadjUSttheexistingschemaandcreateanaestheticsensesimilartotheoriginalauthor.Ontheotherhand:heshoulda130complywiththeschematicstructureofthetranslatedtext,offeringanaturalandeffectiveconversionthatmeetsthehabitsofthetargetlanguage.2.1.3TheSubjectivity.ofExpressionistAestheticsCrocefoundedtheExpressionistAesthetics,“givingacomprehensivesummarytotheself-determinationtheoryofartsincetheperiodofKantandofferingasolidaestheticfoundationtOtheideologicaltrendofartforartinthe19thcentury”(朱立元等6).AmericanliterarytheoristBrooksheld:Comparedtoothermodemestheticians:Crocegaveastrongersummaryoftheartmovementofidealismandexpressionismofanera.Heclearlyad、,ertisedaphilosophyofart!thatis.eachworkofartisaunique:individualstructureandademonstrationofspirit.Therefore,itisakindofcreation(1imitedonly。Dyhisownregularrules):ratherthananimitation(dominatedlzyexternalrules)(480)Croceheldthatartisintuition;intuitionisperformance.Thissa3,inghasgivenadecisivepositiontotheroleplayedbythesubjectashe/sheisinvolvedintheaestheticcreation.IntuitionisthebasisofCroce’Sexpressionism.Inhisview,intuitionisthestartingpointforunderstandingandisthemostbasicperceptualexperience.Intuitioncomesfromimaginationandproducesspecificandindividualimages.Inotherwords,intuitioncreatesimageandvisualizes 四川师范大学硕士学位论文theimageinordertoexpresspeople:Ssubjectix,efeelings.Thisexpression,ifappropriateenough.createsbeautyinforms.Crocesummarizedtheknowledgeofintuitiveasaestheticsandart.IntuitionmeansthatthemindgivesformstOthedisorganized:formlessmaterials:substancesandimpressions.Itisthei’ni’ti’ati‘veactivityofthemind.Thisprocess:whichgivesformstosubstances,iScalledartisticcreation.IntuitioniSinl—tlatl’veandcreative.IintuitioniSperformancej'andthetwoappearsimultaneously.Anyintuition,onlywhenitappearsintheformofperformance,canitbecalledintuition.Intuitionandperformanceareindivisible.Croce:SintuitioncanbeunderstoodastheshapingforceandexpressingforceofthemindCroce:SExpressionistAestheticshighlightsthestatusoftheaestheticsubject,regardingtranslationasakindofcreation.ZengFanrenheldthat,tOCroce,thefeelingsandimpressions,asthecontent:areallformless,passi、7eandbestial.Onlythroughthesubject:Screationofforms,cantheartbeendowedwithimage?lifeandsoul.Thehighlightofsubjectivityisnotonlythecharacteristicofromanticismaesthetics,butalsothefundamentalcharacteristicoftheaestheticsofthenewerainthe20thcentury,.Inliterarytranslationprocess:thetranslatorwillbesubjecttOvariousconstraints.Tobreaktheseconstraints,thetranslatormustexerthissubjectix,ityandactix7elymakescreation.BydoingSOjtheaestheticrelationshipisformedbetweenthereadersandthetranslatedtext,andasaresultthereadersCangetaestheticpleasure.Thetranslatedtextisanew,beautifulexpressionproductwhichisbasedontheunderstandingoftheoriginaltext,createdforthereadersofthetargetlanguageandreflectsthetranslator?Sintuitionandcreativity.Crocebelievedthat“goodtranslationisanapproximation,whichistenableitself'’(朱光潜83).Crocehereputfom,ardthestandardofgoodtranslationfromthepointviewofExpressionism.Goodtranslationisthekindoftranslationwhichapproximatestotheoriginaltextandisfullofthetran.slator’Ssubjectivityandcreativity.Itisaworkofartwhichhasuniquecreativityandartisticvalue.20 AccordingtOCroce’SExpressionismviev%translationvirtuallycannotbeasimple.mechanicalcop37ingorimitation.Rather,itisacreati、,eactivitywhichisbasedontheoriginalwork。Anditisinfusedwiththetranslate-r?ssubjectivityandcreatix,畸.Whatresultsisanewproductwhichapproximatestobutdiffersfromtheoriginalwork.Thetranslationproductisnotthesubsidiaryoftheoriginalwork,butonewithuniquecreativityandtheartisticvaluethatisindependentoftheoriginalwork.ThetranslationproductissimilartOtheoriginalwork:buttheyarenotthesame.Therefore:weshouldconsiderthetranslatedworkasanindependentworkofart?ratherthanapurereplicaoftheoriginalworkinanotherlanguage.Furthermore?01M"understandingofthetranslatedtextcannotequalstothatoftheoriginalworkTothesameoriginalwork:thetranslatorCanofferctifferenttranslationversions.ThisCanalsoprovethatrelativepossibilityintranslationexists,butnoabsolutepossibility.Ifthereisabsolutepossibility,thenitcouldbeonetranslationproductasareplicaoftheoriginalwork,nottwoormore.Thetranslationproductcannotbeareplicaoftheoriginalwork;itmustcontainthecreationofthetranslator.Goodtranslationisanewperformanceproductwhichisapproximatetobutdifferentfromtheoriginalwork.Itisofindependentartistic、,alue2.2TheFactorsofTranslator’SAestheticSubjectivityManwithacertainaestheticneedandcompetence,andwhodoesaestheticactivitiestoaestheticobjectiscalled“aestheticsubject”.Theaestheticsubjectintranslationisthetranslator.InhisTranslationAestheticsIntroduction,LiuMiqingdiscussedtheissueofthetranslationaestheticsubjectindetail.Hebelievesthatthetranslationaestheticsubjecthastwobasicproperties.Oneistheconstraintsoftheaestheticobjecttothetranslationaestheticsubject,andtheotheristhesubjectivel’m‘tl‘atl’veofthetranslator.Specifically,theconstraintsoftheaestheticobjecttothetranslationaestheticsubjectCanincludethefollowingaspects:theconstraintsfromthetranslatabilityofthebeautyofthesourcelanguage,eitherinformornot;theconstraintsfromtheculturaldifferencesoftwolanguages;andtheconstraintsfrom 四川师范大学硕士学位论文aestheticspatialandtemporalvariation.Inthisthesis:theseaspectsaresummedupastheobjectivefactorslimitingtranslator:Saestheticsubjectix,i够.Thesubjectivel’m’tl’atl’veofthetranslatorreferstotheinitiativejcreativityandthestrongcapability.tOStartandstimulatetheaestheticpotentialoftheaestheticobject.InChineseaesthetics.theabovefeaturesarecalled“thepracticality,ofthesubject”.LiuMiqingbelievesthat‘‘theexertionofsubjectiveinitiativedependsonwhethertheTAS(translationaestheticsubject)hascarriedthefollowingaestheticconditions:lifeexperience:levelofintelligence?aestheticexperience,culturalcompetence,etc.Allthesearesocalledaestheticpotentialsthatconstitutethe“prior-structureofaesthetics”(刘宓庆178).Specifically.itreferstOtheaestheticsubjectjSemotion,knowledge:linguisticandaestheticcompetence:aswellasperseverance.whicharesummarizedasfactorsofsubjectiveinitiativeoftheaestheticsubject.Theauthorofthisthesisbelievesthat:intheprocessoftranslation,thetranslator,astheaestheticsubject.willalwaysfacehisownaestheticobject-theoriginaltextandthetranslatedtext.Theaestheticactivitiesarecarryingonthroughoutthewholeprocessoftranslation.Theentiretranslationprocessisaprocessinwhichtheaestheticsubject:undertheconstraintsoftheaestheticobject,givesfullplaytohissubjectiveinitiative.Inthisprocess,thetranslatedtextobtainsthebestaestheticreproduction.Inthefollowingdiscussion,theauthorattemptstoofferrespectiveanalysisonthesubjectiveinitiativeandtheobjectiveconstraintsoftheaestheticsubjectwhoisinvolvedintranslation.Duetolimitedspace,thisthesisonlyCanselectsomeimportantfactors,notallfactorsareinvolved.2.2.1SubjectiveInitiativeoftheAestheticSubject2.2.1.1LinguisticCompetenceandStyleTranslation,inthefirstplace,istheinterlingualtransferofinformation.Whetherthetranslationisfaithfuldependslargelyontranslator’SmasteryofthetWOlanguagesinvolvedaswellasthesubtledifferencesintheexpressionsofthesetwolanguages.Thisrequiresthatthetranslatormustbeskilledbothintheapplication JranslatorsAestheticSubiectivih?——————————‘—’‘’———————‘———————’———’———’—————————————————————————————————;——————‘———————————一———————————————————————————..一andexpressionoftwolanguages.Tmsisparticularlyimportantinliterar3,translation.MaoDun,amodemChinesewriteroncesaidthat“literarytranslationistoconveytheartisticconceptionoftheoriginalworkbyusinganotherlanguage:SOthatthereaderscanstillbeinspired,mo\,edandfeelthebeautyaSthe),readtheoriginalwork”(王秉钦221).Thelanguageofliterary.worksisfigurative.emotionalandstructured.Besides,italsohasastylizedfeature.Thewriter’Screationiswithdistinctpersonalizedcharacteristics.DifferentwritersnTa3,exhibitdifferentlanguagehabitsandst37leswhiletheyselectwordsandphrases.Toexplainthestyleoftheoriginalwork:thetranslatorfirstneedstohaveacomprehensiveandin.depthstudyoftheideologicalandartisticpersonalityofthe,凡riter.OnthebaSisofcorrectlyunderstandingtheoriginalwork.thetranslator:Sexpressingabilityandhandlingofhisownstyledeterminewhethertheoriginalstylecarlbeconveyed.OnthisbaSis,thetranslatorthenanalyzesthephonetics,vocabulary,syntaxanddiscourseandotherlevels,thusgaspingthestyleandcharacterofthewriter’Slanguage.Atthesametime:thetranslatorshouldgivefullplaytOhisaestheticimaginationandreproduceinthemindtheartisticpictures{mdscenesthataredepictedbytheoriginallanguage.TheirpurposeistOhaveprofoundempathyexperiencewiththewTiterandgraspthewriter÷Sstylecharacteristicsinportrayingartimagesandconveyingartisticconception.Ⅵ恤1einterpretingtheoriginalwork.itrequiresthetranslatortOunderstandthelanguagestyleofthework.Thetranslationissupposedtoconveytheartisticconceptionoftheoriginalwork.Therefore,onthebasisOfadeepunderstandingandgraspofthespiritualessenceoftheoriginalwork,itrequiresthetranslatortOhavegoodliteraD'competenceandexpressingcapability,SOthattheartisticconceptionoforiginalworkCanbeconveyed,andthecontentandformcarlbeintegrated.Weadvocatethatthetranslatorshavetheirowntranslationstyles.Undernormalcircumstances,thesaIrletextoftenhasseveraltranslationversions,whicharesimilarinmeaningbutquitedifferentinstylesandaestheticvalues.Thisresultsfromthetranslator’Sdifferentskillsand,;tyles.Intheartoftranslation,thetranslator’Sstyleisacombinationofhispersonalitytendency, 四川师范大学硕士学位论文topic·selectingtendenc3’,writingstylejthetranslationprincipleshefollowsjthemethodsheusesandhisapplicationskillsofthetargetlanguage.Accordingly:thesecharacteristicsareformedanddevelopedinthepracticeoftranslation.Amongthesecharacteristics,thecharacteristicoflanguageapplicationisparticularlyrepresentative.InthehistoD7ofmodemandcontemporarytranslationinChin钆thetranslatorsallhavetheirOV~TItranslationstyles.Forinstance,LuXun’Stranslationisdignified:succinctandemphatic;ZhuShenghao:Sisvigorous,fluentandmajestic;FuLei?Sismature:smoothvdthliterarytalent:,BaJin:StranslationiseasytOunderstandandnatural.YangXianyi’Sstyleis“faithful??and“clear’’:WangZuoliangjStranslationis“smooth‘jand“quaint”.Besides?XuYuanchongstressestheperfectcombinationofthebeautyinform?meaningandphonetics.Nomatterhowthetranslatorsuppresseshisownstyle!theirownstyleis,tosomeextent,demonstratedinhistranslation.Whenwesaythatthetranslatorshouldhavehisownstyleintranslation,wedonotmeanthatthetranslatorCantranslaterandomlyregardlessofthestyleoftheoriginalwork.EachtranslatorisfacedwiththedauntingtasktObothexpresstheoriginalstyleandendowthetranslationwithhisownuniquestyle.AgoodtranslatorshoulddoitsutmosttomobilizehisculturalandlanguagecompetenceSOastonarrowthegapbetweenthetwoandreachabasicintegration.Ofcourse,acompleteintegrationisimpossible.Onlybyobtainingthebestcombinationofthetranslator:Sownst)7leandtheoriginalst),le,Canitproducesgoodtranslation.Todothis,thetranslatorshouldfirstcorrectlyunderstandthestyleoftheoriginalwork.Basedonanin-depthunderstandingofthedifferencesbetweenthetwolanguages,thetranslatoralsoneedstohax7eadetailedunderstandingoftheera,lifeexperience,temperament,usualworkstyleoftheoriginalauthor,hiswritingmoodandthefeelingsheattemptstOexpress.Translator‘Smisunderstandingsintheinterpretationprocessmayinterferewiththeexpressionoftheoriginalstyle.Secondly,thetranslatorshouldkeepimprovingtheirlanguageskillsandculturalcompetence,SOthatthetranslatorCantranslatemorefreely,thusdiversifyinghisownstyleand24 ——一!!竺!!苎竺:.!垒竺竺!!望!!!堕!!!!:!堡——reducingasmuchaspossibletheinterferencefromhisowrlstylewhenhe/sheistheprocessofconveyingtheoriginalstyle.Thirdly,iftheconditionsallow,itisbestforthetranslatortOtranslatethearticleswhichareclosetohistran.slationstyleOrthearticlesofhisfavorite.Inthisway,thetranslatorcanbetterund一:rstandtheoriginalauthorandconveythestyleoftheoriginalintranslation.2.2.1.2CulturalCompetenceTranslationisnotjHSttheinterlingualtransferofinformation!butalsothetransformationandcommunicationbetweencultures.EugeneNidasaidthat“fortrulysuccessfultranslation,biculturalismisevenmoreimportantthanbilinguallsm.sincewordsonlyhavemeaningsintermsoftheculturesinwtfichtheyfunction"(Nida,308).TheBritishlinguistRoyceJohnoncesaidthatthelanguageofaparticularsocietyispartofthecultureofthesociety.Theworddifferencesofeachlanguagewillbereflectedinthesocialthings,customs,andavarietyofactivitieswherethislanguageisused.WangZuoliang?asearlyasin1984,wroteapapercalledCulturalComparisoninTranslation.Inhisview,tOdotranslationwell,wecannotjuststopatthelanguagelevel;weshouldalsohaveadeepunderstandingoftheculturebehindthelanguage。Headdedthatifwecoulddiscusstheculturalsignificanceandhistoricalroleoftranslation,orjfurther,tocoml:·ineitwiththenewdisciplineofculturecomparison,thenawholenew"aspectwilladdtotranslationstudies.Fromthesewords,weCanseehowWangZuoliangattachedimportancetOculture.’Languageisnotjustthecarrierofinformation,butalsothecarrierofcultureDifferentnationalities!duetodifferentlivingenvironments孤;wellasdifferentviewpointsofunderstandingoftheworld,tendtoformtheirownuniqueculturalmode.Thereaders?understandingoftheformandcontentofinformation?toalargeextent,isdependentonthenation’Sculturalmode.Thereadersandoriginalauthoroftheoriginalworkgenerallyhaveac.ommonculturalbackground,SOthereadersoftheoriginalwork,asexpectedbytheoriginalauthor,Canunderstandthecultural 四川师范大学硕士学位论文connotationoftheoriginalworkthroughthevocabulao'’Ssurfaceforms.Bycomparison:thetranslatorconveysinformationandexpresseshis/herfeelingsaccordingtohis/herownlang'uageandculturalbackground.Whathe/shefacesistheculturalmaterialswhicharedifficulttounderstandandwhicharemoreeasilytobemisunderstood.Therefore.“thetranslatormustbeanintellectualintherealsense”(王佐良18).Theculturalcompetenceofthetranslatorisaveryimportantinitiativefactoraffectingthequalityoftranslation.Thehighertheculturalcompetenceofthetranslatoris,thestrongerhisaestheticandreproductioncompetenceoftheoriginalworkwillbe.ThenhisaestheticperceptionorsensitiviD,generatedfromintuitionwillgetdevelopedanddeepened.Thetranslationmayalsogetabetteraestheticeffect.Translator?Sculturalcompetencemayincludeanumberofaspects.Inthisthesis,theauthorattemptstosumitupasbilingualculturalknowledge,translationtheory,practiceaswellasawiderangeofknowledgeaccumulations.Thetranslator?Sunderstandingoftheculturalknowledgeofthetwolanguages,doesnotmean“tounderstandinageneralway:buttounderstandthepastandpresentofthepeoplewhousethelanguage.Indetail?itincludeshistory:developmentjcustoms,economicbase,emotionallife:philosophy,scienceandtechnologyachievements?politicalandsocialorganizations,etc.Andthemoredetailedandin-depththeunderstandingis,thebetter”(王佐良18).Theliteraryworkitselfisofhighlyaestheticvalue.Thetranslationprocessofliteraryworksisatthesametimeaprocessinwhichthetranslatorexertshissubjectiveinitiativeandappreciatestheoriginalwork.Thetranslator’Sfamiliaritywithandunderstandingextentoftheculturesoftwolanguages,haveadirectimpactonthetransferenceofculturalinformationintranslation.Thetranslatorshouldunderstandtheculturesreflectedbythetwolanguagesthroughvariousinformationchannelsandgetfamiliarwimthedifferencesbetweenthecultures.OnlybydoingSOCanthetranslatorfindarightpointSOaStominimizethedistancebetweentheoriginalworkandthetranslator,accuratelycapturetheinformationoftheoriginalculture,andmakeaneffective26 ——一!!竺!!苎2:!垒!!尘!竺!!兰堕!!竺!:!堡——communication.Inaddition,thetranslator:Slong-termaccumulationoftranslationtheoWandknowledge,aswellashisstudyandcomparisonofdifferenttranslationversionsjalsoCanplayaneffectiveguidingroleintranslationpractice.Generallyspeaking,translationcall:tbewellcarriedOUtbythetranslatorwhoonlyhassimplyproficientskillsinaforeignlanguageanddictionariesandreferencebooks.Lackofanin-depthstudyofthecultureofthesourcelanguage,wecarlhardlyensurethequalityoftranslation.OnthebasisofknowingthetWOlanguages:thetranslatorshouldgetfamiliarwiththecultureandspiritconcerned:thesocialandculturalbackgroundoftheauthorsandworksaswellastheattthor÷Swritingstyleandartisticviewpoint.OnlybydoingSOCanthetranslatort£akesonthetaskofaccuratelyexpressingtheconnotationoftheoriginalwork.2.2.1.3EmotionalFactorsThetranslator:astheaestheticsubject,isanindividuallifewiththoughtsandemotions.Inthewholeprocessofartisticre-creation:thetranslatorshouldgivefullplaytohisownaestheticpsychologicalmechanismandlanguageexpressingskillsAlso:heissupposedtomobilizetheinitiativetOthemaximum.Aestheticemotionisthecoreelementinthetranslator‘Saestheticpsychologicalmechanism.Theemotionalexperienceofthetranslatorisanaestheticre-experiencebasedontheoriginalauthor’Saestheticexperience.Inthetranslator‘Sinterpretationoftheoriginalwork,hewillfirstuseaestheticperceptionandgrasptheimagereflectedbythework.Meanwhile,谢thasincereanddeepemotion,thetranslatorreadsevery.wordoftheoriginalwork,appreciatesthethoughtsandpleasureinworks,carefullyappreciatesthe“overtones’’or“impliedmeaning”,andhasaprofoundempathyexperiencewiththeauthorandaexchangeoffeelingsandthoughtswiththeaestheticimagesoftheoriginalwork,SOastoachievethecommunicationofthesoulandfitofthespirit,thusgainingaprofoundlifeexperienceandinsights.Basedontheseaspects,thetranslatorthenmaximizestheexpressingmeaningsinthetargetlanguagebasedonhisunderstandingoftheartisticconceptionoftheoriginal.27 四川师范大学硕士学位论文Aestheticemotionisamulti—dimensional,multi—layeredcompositestructure.InTranslationAesthetics.on也eonehand.itcontainstheemotionof也eaestheticobject:ontheotherhand.itistheemotionalinductionoftheaestheticsubject.LiuXizai?aliteraryestheticianoftheQingDynastysaidinhis}buM地Yanf《游艺约言》)“Literature,philosoph37ofmind”(刘熙载1813~1881),whichmeansthatliteratureisthestud,yreflectingmarl:sthoughtsandfeelings.ThetranslatoractivelymobilizeshisownthoughtsandemotionsSOastohaveempathywiththeoriginalauthorandinfusehisownaestheticemotionintotheemotionoftheoriginalauthor.Toappreciatetheimagerybeautyoftheoriginalwork:wecanmainlyrelyonaestheticimaginationandassociation.Toexperiencetheemotionalbeauty,however,itrequiresrichaestheticemorionandprofoundaestheticexperience.Ingeneral,asthesubjectofthetranslationactivities,thetranslator‘Semotionismainlyreflectedintwoaspects:Ononeaspect:emotionaffectsthetranslator’Sselectionofthetranslationmaterials.Whenperceivingexternalobjects,notallstimulicarlarousepeople‘Sinterestandcreationpassion.Intranslation,thetranslatorisnotinterestedinalltranslationmaterialsindifferentrespects.ThetranslatorisalwayswillingtOchoosethewriterandworkswhichcarlarousehisemotions,andwhicharesimilartohimininterests,hobbies.andpersonality.Ontheotheraspect,emotionalsoaffectsthetranslator:Sattitudeinthetranslationprocess.What:Smore,itaffectsthewholetranslationprocess.Accordingtotheviewofmodempsychology,theemotionanditsexperienceforms,tosomeextent,determinepeople:Smotivations.Alsojtheybecomethelongorshort—termmotivationsinpeople’Sactivitiesandvariousactions,producingimagesanddesireswithcertainpurpose.Intranslation:whetherthetranslatorhasstrongfeelingsisreflectedbythefactthatwhetherhehasacontinuousattention,orwhetheritiseasytowakeuphisdeepthoughts.Theemotionsofthetranslationmaterialsandthoseofthetranslator’Saccumulatedinhisinnerworld:stimulatingnewemotionsinthetranslatedtext.Forexample:“Notyet,however,inspiteofherdisappointmentinherhusband,didMrsBennetgiveupthepoint.”Onetranslationcouldbe“尽管丈夫的话让班纳特夫人28 Translator‘sAestheticSubjecti、’吟大失所望,但他仍不放弃自己的观点”.Thistranslationalsocon\’e3rSthemeaningoftheoriginal二butitappearstobefeebleinwordsandlackofartisticappeal.Heretheproblemtiesinthetranslator’Slackofemotions.Inthiscircumstance!itwouldbeunabletoreproducetheemotionsoftheoriginal.Instead,wecantranslatethesentenceaS“班纳特太太虽然碰了一鼻子灰,可是并不甘心罢休”.Inthisversion:byusing“碰一鼻子灰”和“甘心罢休”jthetranslatorcreatedemotions:matching“disappointment?’and“giveup”.Intranslationj0ntheonehandjthetranslatorneedstohavefeelingsoftheoriginalwork.Thatis.toinfusehisownsubjectivefeelingsanddedicatehimselftotheworks!tounderstandtheoriginalauthor?Sthoughtsandfeelings?toappreciatethework:Satmosphereandmood,tofeelthecharacters:personalitytraitsaswellaLStohaveaspiritualexchangewiththecharacters,Furthermore,heshouldalsofindouttheideologicalconnotationandaestheticimplicationofthework?analyzeitsliterary.valueandsocialsignificance,feelwhmtheauthorfelt:sharingthesamefeelingastheauthor.’Fhusjbyhavingthe“pre·understanding”oftheoriginalwork!a“fusionofhorizons—emerges.Throughtheexperienceempathy,thetranslatorandtheauthormaygetas.3iritualfit,andthenthetranslatoLbyinfusinghissincerefeelings,deeplyfeeltheu,Titer:Sfeelingsandsharetheirhappinessandsorrow".Ontheotherhand,thetranslatoralsoneedstohavefeelingsforthereaders.Thatis,toputtheaestheticemotionoftheoriginalworkintohistranslationjtoarousethereaders’samefeelingandsympathy.thusachievingthe“fusionofhorizons?:betweenthereadersandtheoriginalworkTherefore.emotioniSessentialintranslator:Stranslationactivities.Atthesametime,tocountlesstranslators,emotionisthedrivingfor·3efortheirtirelesseffortsinthetranslationcareer.Forthetranslator,gettingtoknowtheoriginalworkisadynamicprocess.Inordertomakethetranslatorgraspthewriter’Saestheticevaluationandemotionalattitudeofthecharacters,thetranslatorisexpectedtohaveanoptimisticattitudetowardslife,keeppurifyingtheirownaestheticemotions,improveaesthetictastesandreachempathyexperiencewiththewriter.29 四,⋯i师范大学硕士学位论文2.2.2ObjectiveFactorsLimitingTranslator’SAestheticSubjectivity2.2.2.1DifferencesinLanguagesandCulturesThescholarJiaYuxinheldthat.inthehistoryofmankindwhenanationalityemergedasacommunity,ithasitsstablelanguage,economiclife:residentialareaandpsychologicalstate.Solanguagehasbeendeeplymarkedb)7thecharacteristicsofthenationalityandbecomethemosttypicalfeatureofthecultureofthenationality.Withdifferentculturalsystems:geographicalenvironments,historicalconditionsjsocialbackgrounds:lifestyles!etc:ChinesepeopleandEnglishpeopleowndifferentwaysofthinkingandaesthetichabits.Languageisthecarrierofanation’Sculture.Thedifferentculmralcharacteristicsofdifferentnationswillnaturallybereflectedinthelanguage.DifferentcultureswillinevitablyleadtOlanguagedifferences.Intheprocessoftranslation:languageandculturaldifferenceswillcausedifficultiesintranslation?hinderingtheexertionofsubjectivity.Therefore,thecomparativestudyofthelanguageandculturebetweenChineseandEnglishisofgreatnecessity.Inthefollov、_7ing,thisessaywillmakespecificdiscussionandanalysisonthelanguageandculturaldifferencesbetweenChineseandEnglish.ThecomparativestudyofChineseandEnglishlanguagehaslongbeenahotissuefortheChineseandforeignscholars.Manyscholarsbelievethat:themostbasicsyntaxdifferencesofthetwolanguagescanbereflectedinthecontrastbetweenhypotaxisandparataxis:Parataxisistoexpressthegrammaticalmeaningandlogicalrelationsthroughthemeaningsofwordsorclauses.Hypotaxis,bycomparison,reliesonthemorphologicalchangesofthewordsandcohesivedevices.Thusthewordsorclausesgetconnected;thegrammaticalmeaningandlogicalrelationsareclear.Theformerfocusesonthecoherenceinthetextualsense,whilethelagerfocusesonthecoordinationintheformofwordsorclauses.(刘宓庆18.19)Nida,thefamousAmericantheorist,oncesaidthat“inlinguistics,oneofthemostimportantdifferencesbetweenChineseandEnglishisthecontrastbetween30 Translator‘sAestheticSubjectivit、,hypotaxisandparataxis”(I6).WangLi,afamouslinguistinChinaheldthat“Chineselanguageemphasizeshypotaxis,andconnectingcomponentsarenotnecessary;whilethewesternlanguagesemphasizeparataxisandconnectingcomponentsareindispensableinmostcases”(王力31O).ThedifferencesbetweenEnglishhypotaxisandChineseparataxisreflectthedifferencesinthewayofthinkingbetweentheEastandtheWest,andthenreflectthedifferencesinthephilosophicaltraditionandculturalpsycholo斟.FuLeiheldthattherearesomebasicdifferencesinthewayofthinkingbetweenEasternersandWesterners.Indetail,itmeansthatEasternersemphasizeintegration,generalization?suggestionandimplication:whileWesternersemphasizeanalys,iswhichisdetailedandcomplicated.TheytendtOexploreallthedetailsandmakethemostthoroughdescription.Specifically,Chinesetraditionalphilosophyadvc·catedtheharmonybetweentheheavenandhuman,whichcarlbereflectedinthe、azayofthinkingandlanguageform.Theformerreferstotheemphasisontheoverall.ThelatterreferstOChineseparataxisandtheemphasisontheawarenessofthesubject:which,indetail,Canbeexpressedasthefollowingaspects:mostlyusethepersonalsubject,actix,evoice,non—subjectsentencesandsubject—omittedsentences;mosl。lyusetopicsubject;paymoreattentiontOtheinnermeaningratherthanmorphologicalandsyntacticstructure.Inaddition?affectedbythreemajorphilosophythougkLtsofConfucianism,TaoismandBuddhismjsinceancienttimes:theChinesehavebeenpolitejhumble,shyandtactful.SuchvaluesandthinkinghabitscanbereflectedintheChineseexpression.Indetail,itmeansthattheexpressionischaracterizedbysemanticobscurity,lotsofvaguenessandambiguity.Onthecontrary",Westernphilosophyadvocatestheseparationoftheheavenandhuman,emphasizingtheindividual.Thiswayofthinkingfocusesonanalysisandtheobject.Reflectedinlanguage,itreferstOEnglishparataxisandtheobjectiveexpression.Indetail,inEnglish,it'smorecommontouseinanimateexpressionsandimpersonalsubject.P:kssivesentencesandactivesentencesareofthesameimportance.Thesentencesarecompactandstrictinstructureandclearinlogic.Itrequireskeepingthetraditionalsubject—predicate 四川师范大学硕士学位论文structure.AndthesubjectplaysanimportantroleInsummary,intranslationaestheticactivities.the1anguageandculturaldifferencesbetweenEnglishandChinesebecomeoneofthefactorsrestrictingtranslator?Ssubjectivity..Ontheonehand,州thhisownculturalbackground,thetranslator?Sthinkingwayisinevitablymarkedwiththeimprintofthenationalculture.Therefore.nomatterhowhardhetriestOimerprettheoriginalworkwithanobjectix,eandcalmattitude,theinterpretationwillinevitablybeinfluencedbythetranslator?Sownculturalbackground.Atthesame,time,asaspecialreaderoftheoriginalwork,thetranslatormustforgethisownculturalidentity,integratingthemselvesasmuchaspossibletOthesocialandculturalbackgroundpresentedbytheoriginalwork.Thisrequiresthatthetranslatormustbeproficientinboththesourcelanguageandthetargetlanguage,befamiliarwithtwOculturesandtheculturalbackgroundoftheoriginalauthorandthework.Furthermore,heshouldalsolearnabouttheauthor?Sv、_Titingstyleandartisticviewpoint.BydoingSO,thetranslatorCanbemorecapabletoaccuratel3,conveytheoriginalconnotation2.2.2.2AestheticSpatialandTemporalVariationLiuMingqingholds:Spatialandtemporalvariationresultinthenonequivalenceofartisticappreciation.ThespatialandtemporalvariationofartistiCvariationoftenCanbemanifestedthattheliterarystyleandfashionofthetranslator÷Stimema37causedeviationsorfallaciestothetranslator’Sunderstandingofthecontentandstyleoftheoriginal.Inshort,itissubjecttOcertainlimitations.(刘宓庆176)Wecarlalsocallthespatialandtemporalvariation“spatialandtemporaldistance”,meaningthespatialandtemporaldifferencesbetweentheoriginalauthor,hisworksandthereaders.Althoughweoftensaythatadistancemayproducebeauty.However,theexistenceoftemporalandspatialdistanceCanalsocausereadingdifficultiesandobstacles,aswellasunderstandingdifferences.Takeclassicalliteratureforexample:forthesameworkjreadersofdifferenttimesand32 ——一.一!!竺!!苎竺.!垒!墅竺!!兰!堕!!翌∑!垒:——countriesmayhavedifficultyintheinterpretationofclassics.Forinstance:fortheBookofSongs(《诗经》)jtheunderstandingofpresentreadersc£mnotbethesameasthatoftheancientreaders.Betweentheoriginalauthorandthetranslatorwhoisalsothereaderoftheoriginalwork,thereisacertainspatialandtemporaldistance.Thisdistancejintranslation,willbecomeobjectivefactorslimitingtheexertionoftranslator’SsubjectiviW,thereb3,affectingtheeffectoftranslation.InthetranslationofChineseancientpoetry,itneedstoovercomethedualspatialandtemporalobstacleswhenthetranslatortranslatesthezmcientChineseintoEnglish.TheclassicChineseandtoday‘SvemacularareallChinese:butthetwovarygreatly.Theancientcultureandthemodernandcontemporarycivilizationcarlbetracedtothesameorigin,butthetwoarenotthesame.Therefol‘e.itisnecessarytOfirsttranslateancientChineseintomodemChinese.Thatis1;Osay,weneedtocompleteintralingualtranslationbeforeinterlingualtranslation.HerewetakethespatialandtemporalrelationshipofChinaandEnglandatthat‘:imeintheChinesepoemSnou’ontheRil,er(《江雪》)asanexample.Englandaround800ADwasintheeconomyofthemedievalfeudalismmanor:whenChristianChurchdominatedallareas.TheliteraryofthecountrythenWasmainlynationalepic.Forinstance.“Beowulf!and二‘SongofRoland—arerepresentativeepicsglclrifyingheroism.IfSnou,Onthe尺j、,erweretranslatedbyEnglishtranslatorsofthesi珊etimes.theidealmethodwouldbetOtranslateitintothemedievalEnglish(equivalentofclassicalChinese),SOastomakethespatialandtemporalrelationship3ftwocountriesasapproximateaspossible.ThetranslationofpresenttimeismainlYforcontempora_,Tpeoplewhoare1200yearsfarawayfromLiuZongyuan.Tk【erefore,wecannotexpectcontemporarypeopletofullyappreciateandunderstandthewritingstyleofthattime.Thus.translatingitintomodemEnglishisinlinew!.ththeneedsofthemajorityofreaders.Asobjectivefactorslimitingtranslator:Ssubjectivity,spatialandtemporalvariationisverydifficulttOoverco.me.WeCanonlyshortenoradjustthedistancethroughsomeefforts.InhisPrincipalsofArtEducation,theGermanpsychologist33 四川师范大学硕士学位论文Munsterbergofferedthat“thereisonewayifyouwanttoknowthings:Youhavetoseparatethatthingfromanyotherthings.makingyourconsciousnesscompletelybeoccupiedbythissinglefeelingatthemoment.Thismeansthatyoumustbecompletely'contentedwiththething.Inshort,.thisistheappreciationofbeauty,"”(朱光潜50).ThisrequiresUStogetridofthevulgarandnarrowconceptofpracticalutilitarian.Instead?innaturalscenesweentertheworkinternally,getfamiliarwiththetext:theeraandtheauthorforthepurposeofbetterunderstandingandappreciationofthework.Inthiswaywecanshortenthespatialandtemporaldistanceasmuchaspossible.2.3SummaD,Since1970s.translationstudiesintheWesthaveshifledto“theculturaltum”.Andthevisionofstudieshasbeenexpanded.StudiesonthetranslatorjSsubjectivitygraduallybecomeoneoftheimportantresearchesinthefieldoftranslation.Inchapterone:theauthoroffersageneralexpositiononthestudyofthisissuebothathomeandabroad.Inthesecondchapter,theauthormainlyfocusesonthestudyofaestheticsubjectivityfromtheperspectiveofaesthetics.Asweknow,thetheoriesofavarietyofcontemporaryWesternaestheticschoolshax7ealltakenrelatedstudiesontheaestheticsubject.Inrecentyears?theseWesterntranslationtheorieshavebeenappliedtothestudiesoftranslationaesthetics,expandingthevisionoftheresearchattranslationaesthetics.In.thisessay,theauthor’Sresearchmainlyfocusesonthetheoriesofthreeaestheticsch001s——-theReceptionAesthetics.theExpressionistAestheticsandGestaltPsychologicalAesthetics.TheReceptionAestheticsstressesthedynamicroleofthereaderwhoisintheprocessofcomprehension.TheReceptionAestheticsprobesintothemattersofBlankness,SpotsofIndeterminacyandConcretization.ThesestudiesarehelpfultOthetranslatorwhenhe/sheexertssubjectivityandchoosesstrategiesoftranslation.Croce:SExpressionistAestheticshighlightsthestatusoftheaestheticsubject,regardingtranslationasakindofcreation.Oneofitsthoughtssays,“Artisintuition;intuitionisperformance”.34 lranslatorsAesthet】CSubiectivitx,‘。。。———’—————————————————’‘。。‘———’————————-——-——-——’__——————_——————_-—--————————————__;—--—————_————一—_—————————_————————-——.—.__-_.一Thissayinghasgivenadecisix,epositiontotheroleplayedbythesubjectashe/sheiSinvoh,edintheaestheticcreation.Oneofthemair}focusesofGestaltPs37chologicalAestheticsisthestudyofthedifferentqualitiesshm-ingsamestructureorsameform,whichismanifestedbytheaestheticsubjectashe/sheisinvoh,edinprocessofaestheticperception.IncontemporaryChina:translationaestheticsgivesspecialattentiontothestudyoftheaestheticsubject—thetranslator.ScholarsinvolvedinthesestudiesmainlyincludeFuZhongxuan:LiuMiqing:andMaoRonggui.’Iheirstudiesmainlyfocusonissuesconcemingtheaestheticsubject:Scharacteristics.,prerequisites,andpsychologicalaspects.BasedonLiuMiqing’Stranslationaesth一:ticstheory.,inthischapter,theauthorwillgiverespectiveanalysisonthesub.:Iectivefactorsandobjectivefactorsoftheaestheticsubject。_——thetranslatorwhoisinvolvedintranslation.Theanalysisandstudyontranslator‘Saestheticsubjectivity,demonstratestheimportanceforthetranslatorsubjecttOfullyexerthisinitiative.Thetranslator,inordertominimizetheimpactofobjectivefactorsontranslation(e.g.1anguageandculturaldifferences,thespatialandtemporal、7ariation:etc.)andachieveabetteraestheticreproductionintranslation,thetrans]atorintendstOusevariousmethods.suchastraininghisoumbilingualskillsofapplicationandexpression,forminghisowntranslationst57le,integratinghisownemotions,ordevelopinghisculturalcompetenceandtranslationskills.ClassicalChinesepoetrypossessesitsownspecificcharact·eristics.Inaddition,thereexistvariousdifferencesbetweenEnglishandChineselanguages.ThesetwofactorshavedeterminedtheimportantroleofthetranslatorjSsubjectivityinthetranslationofclassicalChinesepoetry.Atpresent:bothinChinaandabroad,somescholarsuseclassicalChinesepoemsassamplestoprobetheissueoftheaestheticsubjectivity.YetinthisfieldtherestillexistsmuchspacetofiUi11wimDewresearchresultsconcerned.Inchapterthree,theauthorwilltakethetheoryofaestheticsubjectivityasthebasis,analyzingtheembodimentofaestheticsubjectivityinEightOctavesonAutumnalMusings(《秋兴八首》)writtenbyDuFu.]飞eanalysisaimsto35 四川师范大学硕士学位论文explorethesignificanceoftheroleplayedbytheaestheticsubjectivityinthespecifictranslationprocessanditisexpectedthattheanalysiswouldfurtherbroadenthevisionofstudiesataestheticsubjectivityinclassicalChinesepoetrytranslation.36 ChapterThreeTheTranslator’SAestheticSubjectivityintheTranslationofEightOctaves011AutumnalMusings3.1ABriefIntroductiontoDuFuDuFu(712—770)isalsoknownasZimeiand“ManofShac·ling”(ShaolingisaplaceinthesouthofChang:all,wherehehadlivedforatime).HeWaSborninanoblefamilyinGongyi,HenanProvince.Inchildhood,hereceivedasolid,systematicandcompleteeducationinfluencedbythefamilycultureandsentimentsAttheageofseven,healreadyknewhowtOwritepoemsandessays.Thereweremanyupsanddownsthroughomhislife.At20,hetraveledtoWuandYue(JiangsuandZhejiang)insouthernChina。FiveyearslateLhecamebacktOLuoyangtOtaketheimperialcompetitiveexaminationjbutfailed.AfterthathetraveledtoQiandZhao(ShandongandHebei)innorthernChina.ThenhemetLi3aiinLuoyangandtheybecamegoodfriends.Morethan10yearsjoftravelingexperiencesenrichedhislife,broadenedhisviewsandhealsomadealotoffriends.Re。presentativepoemsduringthisperiodincludeGazingonMountTaiandToLiBai.DuFulivedinaveryimportanthistoricalperiod.TheTangDynastybegantodeclinethen.HewastrappedinChang÷anfor10years,strivingtObeallofficialandlivingahardlife.Duringthistime,therehadbeenatremendouschangeinhisthoughtsandpoetrycreation,andhispoemsbecamemature.RepresentativepoemsthenincludeSongof.theWarChariots。songofBeautifulLadiesandothers.Criticizingthepoliticsandsatirizingthepowers,thesepoemsareconsideredaSthehistoricalrecordsoftheTang.In755,theRebellionofAnLushanandShiSimingbrokeout.ThepoetWascapturedbytherebels.WitnessingtheWarthatharmedpeople,hewrotedownpoemsaLsAMoolightEvening,SpringPerspective.etc.Filledwitllgloomyandsademotionsand37 四川师范大学硕士学位论文patriotism:thesepoemshavereachedahighrealmofthought.HeescapedlaterandofferedhisservicestOEmperorSuzongforashorttime.In759,heleftthecourtandwenthome.Onthewayback,hefurtherfeltthesufferingofpeople.composingthreepoemsaboutofficersandthreepoemsaboutparting:whicharethemostrepresentativeonesamongDuFujSpoems.Theyareofhighlyartisticskills:fullydemonstratingthebloody,sadscenesofathousandyearago.AfterhisresignjDuFuhadastablelifewithhisfamilyinChengdu.ThenhedriftedagaintOZizhou!Langzhou:Kuizhou,HubeiprovinceandHunanprox7incesuccessively.Finally,hediedinaboatontheXiangjiangRiverattheageof59Inspiteoflivinghardanddriftingeverywhere,DuFustilldevotedallhislifeandsparednoeffortstocomposepoems.Withgreatconcernsaboutthecountryandthepeople,splendidtalentforliteraturejandthecreationpassion,heprovidedthelaterageswithgreatpoemsofeternalvalue.Throughouthislife:DuFucompostedaboutthreethousandpoems,amongwhichmorethanonethousandandfourhundredareinexistence.HispoemsartisticallyreproducedthesocialoutlookofTangDynasty.inthemiddleoftheeighthCentury,whentheTangDynastywassuccessivelyinthereignofEmperorXuanzong?EmperorSuzongandEmperorDaizong.Besides,hispoemsreachedaperfectmatchbetweenthecontentandformjhavingauniqueartisticstyleofprofoundmeaninganddeepemotions.DuFuspentthreequartersofhislifein“theFlourishingKaiyuanPeriod”.whiletheotheronequarter,namely,thelast15years,intheWarperiod.InthegrandagejwhichWasinstrongcontrasttothewartime,emergedthegreatpoet.HispoemsdeeplyandextensivelyreflectedthehugechangesofthesociallifeinTangbeforeandaftertheRebellionofAnLushanandShiSiming.Therefore,hispoemswerenotonlyhisautobiography,butalsoactualrecordsofhistimejbroadeninganddeepeningtheexpressionofpoems.WithgreatachievementsinClassicalChinesepoetry,DuFuisconsideredasthe“saintpoet”.Hispoemsarecalled“poetichistory”,whichoccupiesaratherhighstatusinthehistoryofChineseliterature.DuFu’Spoemsarenotlimitedtothe38 narration.Theyarevariousinstyles.Five—wordoctaves,seven·Ⅶordoctaves:poemsofeightlines,poemsoffourlinesareallinvolvedinhiscreation.Amongallstyles,hedevotedmoretOsex7en—wordoctaves,Ⅵ,hichcarlrepJ‘esenthishighestachievements.DuFuwasthefirstpoetinTangD37nastytowrite:seven.wordoctax,es.Sofarasweknow,there‘re150seven—wordoctavescomposedbyhim.Furthermorejheexcelsearlierpoetsinbothquantityandqualityofseven-Ⅵ’ordoctaves.AstocontentjDuFu?Sseven·wordoctavesinx,olvevarioustopicsinreallifeandreachalevelbroaderanddeeperthaneverbefore:thusgreatlyincreasingthenumberandimprovingthequaliD,ofthisstyle.Amongtheseseven.wordoctavesjthoseprofoundlyreflectingthesocialrealityandrevealingthesharpsocialcontradictionsarethemostnoticeable.DuFu!Sseven—wordoctavesmadenotonlyapioneeringcreationincontent,butalsoaboldinnovationinform,pavinganinfinitelybroadwayforthedevelopmentofpoemsonthisstyle.DuFuWasthefirstpoetwhousedaform,whichconsistsofseriesofpoemstosex,an-wordoctaves.Inaword,itWasTuFuwhocontributedtOmakingseven-wordoctavesgetmaturejSOthattheycallrivalthepoemsofothersD,les.3.2ABriefIntroductiontoEightOctavesonAutumnalMusingsTheEightOctavesonAutumnalMusingswascomposedin766ADjwhenDuFuWas5yearsoldjandhestayedinKuiZhouci黟onthebankoftheYangtzeRiver.Healmosthadsixyears、wanderinglifeinsouthwestofChina.DuringthisperiodoftimejtheRebellionofAnLushanandShiSiming,whichcausedtheTangtoturnfromprosperitytodecline,Wasbasicallydrawingtotheend.However,thecountry’Ssituationremainedprecarious,andDuFuWasdeeply、worried.Since762,someimportantfriendsofDuFupassedawayoneafteranother,suchasLiBai,FangGuan,ChuGuangxi,ZhengQian,SuYuanming,YanWuandSOon.DuFuhimselfalsoenteredhisoldageduringWaryears,andhisflailbodyoftengotsickfromtimetotime,SObothhisbodyandmindgotexhausted.Hemissedhishometowndayandnight,butneverhadthechancetogoback.Itisinthismoodofbothdeepsorrowfor39 四川师范大学硕士学位论文hislifeandthenation‘SfatethatDuFucreatedthisgroupofimmortalpoemsintheautumnofKUiZhoucityDuFucombinedthelaw、nthfu.andstrengthenedtheperformancefeatureofQjlutoenableittOundertaketheimportanttaskof“epic”forthattime.TheEightOctm,esonAutumnalMusingsisarepresentativeinthisregard.Thefirstpoeminthegroup—poetryintroducesthemoodwhilethefollowingsevenpoemsecho,whichcontains仃emendousprofoundcontents.“SomeartisticconceptionpresentinginEightOctavesonAutumnalMusings......istoperformanemotionbytheimageryofsomething......ThisisanextremelyvaluableinaugurationintheartisticconceptionofChinesepoemjespeciallytheseven—characteroctave”(叶嘉莹42).AsoneoftherepresentativesofDuFu’SQilupoems,EightOctavesonAutumnalMusingshashighartisticqualitywhichtheauthorsummarizesitasthefollowingaspectsFirstofall?thepoemiswell—knit,andverydistinct。ThefeelingsofupsanddoⅥmsofthepoet,.theextensionofhisthoughts,andtheclueofcaringforhiscountryandpeoplerunthroughthepoetry—groupasawhole.Asthefourthpoemtobeatransition,thepoetr、,一groupCanbedividedintotwoparts:thefirstthreepoemstalkabouttheKuiZhoujandthenshifttOtherecallofChang’an,however,thelastfivepoemstalkabouttherecallingofChang:anandthenshifttothesituationinKuiZhou;thefirstthreepoemsⅥ1ritetherealitybeforecomingtothememory.whilethelastfivepoemsgofromthememorytothereality.Secondly!EightOctavesOnAutumnalMusingspresentsrichimagesandprofoundartisticconception.TheimageformedinDuFu:SpoemusuallyhasastrongmelancholycolorbecausethesadfeelingsofDuFubothforthetimeandthecountry.haveoftenbeenpresentedbyresortingtotheobjectiveimage.InEightOctavesonAutumnalMusings,thedeclineofautumnispresentedthroughspecificimagessuchas:themaplewoodin“玉露凋伤”:thesunsetin“夔州I孤城”,and“鱼龙寂寞秋江冷,故国平居有所思”,“翟塘峡口曲江头,万里风烟接素秋”.Atthesametime,thecombinationofimagesinDuFu’Spoemsisusuallycloselyrelated. —TheTranslato—r'sAestheticSubjecti、,ityintheTranslationofEightOctavesOnAutumnalMusingsAndinordertOmakethepoemreaddignifiedandprofound,severalimagesareoftencompressedinonepoem.Forinstance“风急天高猿啸哀,:堵清沙自鸟飞回”.almosteverywordformsanimage,rangingfromwhatyouhear‘:owhatyouseeandfromthesoundtOthecolor,allpresentedthegrandanddesolatecharactersoftheautumn.YuanXingpeiprofessorpointedoutthatthebiggestcharacteristicofEightOctm,esonAutumnalMusingsis:“thepoemusedthepervadingautumnscenerytOconnectthestatesofQinandShu,anditexpressedthehomesicknessofthepoetforthepeacefullifeinhomeland.Inaddition,itusedendlessmemoriestOconnectthepresentvdththepassingday,andexpressedthefeelingofevokingthememoriesofthepastwhilelivinginthepresent”(袁行霈277).Thirdly,thecontrastisstriking.Itisthecontrastoftimeandspace.Tremendousconversionsoftimeandspacerunthroughthewholepoem.Specifically,itreferstOthecontrastbetweenChang‘anandKuiZhou,aswell、asthepastandthepresent.ThelineswriteaboutKuiZhouis“玉露凋伤枫树林,巫山巫峡气萧森”.and“千家山郭静朝晖.目目江楼坐翠微”describethedesolateandgrandautumnsceneryineverywhere;However,thelineswriteaboutChang?£mare“蓬莱宫阙对南山,承露金茎霄汉间”and“波漂菰米沉云黑,露冷莲房坠粉红一.whichdescribethemagnificentpalaceinmotherland,andtheprosperoussceneinthepast.Inthetime-spacethatcrisscrossesthroughoutthepoem,itconnectstheKuiZhouwithChang?antoexpressthehomesicknessofthepoetforthepeacefullifeinmotherland.Besides,italsoconnectsthedesolatepresentwithprosperouspasttOexpressthepoet’SfeelingofevokingthememoriesofthepastwhilelivinginthepresentFurthermore,theartistriesofEightOctm,esonAutumnalMusingsarealsoexpressedin:thecondensation,sentencesjupside—down,andsplitinstructure;theconversion,crisscross?andechoofthecomposition,whichenrichtheexpressionsofthemeaningofwordsandimagesbecauseofthesevery.specialstructure;theantithesisisextremelyneat-——.notonlyintheformbutalsointhecontentofthepoem;ingeniouscombinationoftheactualsituationandtheimagination;skillsusingforliteraryquotations;andtheconcealingfortheinternalgrammarandlogicalrelations 四J1}师范大学硕士学位论文ofthepoems,etc3.3ABrkfIntroduction-toFourTranstatorsofEigmOvtavesonAutumnalMusings3.3.1ABriefIntroductiontoWuJuntaoWuJuntaowasborninAnhuiProvince.Since1952,hestartedtopublishworks.Representatix,eworksincludepoetryanthology,,biographicalprose,etc.Furthermore,HetranslatedhisOV-TIshortpoems,LuXun‘SpoemsandDuFu:Spoems.Cooperatingwithothertranslators,hefinishedthetranslationof300TangPoemsandmanyotherpoems.in2003:heWaSawardedaStheseniortranslatorofChina.Inthisthesis,theselectedWu?StranslationofEightOctavesonAutumnalMusingsisfromhisTranslationofDuFu≥]50poemswhichincludeTuFujSpoems,suchaSThreePoemsaboutOfficers.ThreePoemsaboutParting,SpringPerspectil'eaSwellasanumberofbeautifulpoemswritteninapeacefulperiod.AccordingtOwhathesaidjhedevoted10yearstOthetranslationofthe150poems.Intheprocessoftranslation,hekeptreadingandchantingDuFu!Spoems,weighingevery.word,sentenceintranslation!withVariousbooksforreference.LookingbackthelongpoetrytranslationperiodjhefeelsrelaxedandhappyaSifunloadingaheavyburden.ThemostmajorcharacteristicsofhisTranslationofDuFu’S150poemsaretheaccurateexpressionofthepoet’Semotionsandperfectrhythmcreationofpoetrytranslation.3.3.2ABriefIntroductiontoSunDayuSunDayuWaSborninZhejiangProvince.Heisawell—knownpoetandliterarytranslatorofmodemChina.From1928to1930,hestudiedBritishliteratureinⅧeUniversity,afterwhichhereturnedandwoNedaStheprofessorofBritishliteraturerespectivelyinWuhanUniversity,PekingUniversity,FudanUniversity,EaStChinaUniversity.,etc.Intheareaofpoetrycreation,hepublishedpoetryanthologies.Inthe42 TheTranslator‘SAestheticSubjectivit3’intheTranslationofEightOctaves071.4utumnaiMusings————————‘————————————’。——————。。——‘————————————————————————————————————————————-—————————————————————-————————————————.——.=—...————.—一areaofpoetry.translationjbyusinghissyllable—grouptheo:2y,hesuccessivelytranslatedeightworksofShakespeare.Besides:healsotranslatedsomepoemsofQuYuan,TangpoemsandfamousEnglishpoems,whicharerespectivelyincludedinTranslationofQuYuan≥SelectedPoems.TranslationofAncientPoems.TranslationofSelectedEnglishPoemsandotherworks.Inhisoldage:SunDayutranslatedmorethan100Tangpoems.whichareincludedinTranslationofSelectedTangPoems.Theseselectedpoemsareofgreatpopularity,includingthepoemsofWangWei,LiBai:DuFu,LiuYuxi,Dumu,LiShang)7inandotherpoets.DuFu‘SEightOctavesonAutumr,:alMusingsisalsoembodied.Histranslationisfaithfultotheoriginal.Thewordsayeuniqueandvivid.Reasonablerhythmandstrictmetergivehistranslationwithartisticenjoyment.Fromthetranslation、thereaderscarltastethebeautyoftherhythmbetweentwolanguagesandimprovetheirlanguageandliterarycompetence.3.3.3ABriefIntroductiontoRewiAlleyRewiAlleywasborninNewZealandin1897.DuringtheFirstWorldWar,heservedinthesecondExpeditionaryForceofNewZealand.In1927,hecametoChina.ThereafterhesettledinChinaandwitnessedthefoundingofnewChina.AfterthefoundingofNewChina,hemadeactiveeffortstomaintainworldpeaceandimprovethefriendshipbetweenChinesepeople,peopleofNewZealandandtheworld.HediedinBeijingin1987RewiAlleyisnotonlyanintemationalfrienddeeplyadmiredandlovedbyChinesepeople,butalsoapoetofpassion,anoutstandingwriterandtranslator.HegottoknowDuFuwhilestudyingChinesecultureandhistory.Sincethe1950s,hebegantotranslateDuFu’Spoemssystemically,andintroduce:thepoemstothewesternworld.Fromthe1950stotheearly1960s,togetherwithhist,eacher,RewiAlleytranslatedSelectedPoemsofDuFu,200PoemsofLiBai,206PoemsofBaiduyi,43 匹川师范大学硕士学位论文Poems痧omTangandSongDynasties.Inthisthesis,theEightOctavesonAutumnalMusingstranslatedbyRewiAlleyselectedinthisthesisisfromSelectedPoemso{DuFu。Histranslatedpoetry,publishedin1962,occupiesanimportantpositioninthetranslationcircleofDuFu‘Spoems.Ithassomeobviouscharacteristics:itisaⅥ,orktOintroduceDuFu:SpoemstoEnglishreaders;poemsselectedtouchuponalltopicsandarerepresentative;thetranslationisinfreestyleandform;thelanguageissimpleandsmooth,focusingonconveyingthespiritoftheoriginal.3.3.4ABriefIntroductiontoAngusCharlesGrahamAngusCharlesGrahamWasborninPenarth,Wales.HeusedtobetheprofessorofancientChineseintheSchoolofOrientalandAfricanStudiesintheUniversityofLondon.In1981heWaselectedafellowoftheBritishAcademy.AstheVisitingscholarandguestprofessor.heoncemadelecturesinHongkongUniversit37,YaleUniversity:Universit37ofMichigan,BrownUniversityandmanyotheruniversities.Morethan40yearsofacademiccareerwonhimthefameofthemostwell·knownandrespectedsinologist.Hisgreatacademicachievementslieintwoaspects.Ontheoneaspect,hisworl(saregreatinbothquantityandquality.Ontheother!theworkstouchuponvariousareas.TheworkshetranslatedincludeZhuangzi,classicworl(sofMozi.poemsofLateTangandthenewConfucianismofSongandQingDynasty.ThetranslationofDuFu?SEighrOctavesonAutumnalMusingsisincludedinhisPoemsofLateTang3.4TheTranslator’SAestheticSubjectivityintheTranslationofEightOctavesonAutumnalMusings3.4.1TheAestheticSubjeetiviD,inWordTranslation3.4.1.1VerbsarefrequentlyusedinAutumnalMusings.Afewexamplesareofferedinthefollowing.Byacomparativeanalysisoftheverbsindifferenttranslation TheTranslator‘SAestheticSubjectix,岭intheTranslationofEightOctavesonAutumnalMusings—————————————————————————————_●__—_————●_______-_-_●-_-____-_______●●-_-_-●_-_-_____●●---_-_●________-____●●___--_____-●●-h-●●●_-__--_--●_-_-__-_________-_●一versions?theessayaimstounderstandhov,ithelanguageandculturaldifferencesrestricttheexertionoftranslator’Ssubjectivityinthetranslationaestheticprocessandhowthetranslatorbetterexertshissubjectivityandacl-devestheaestheticreproductionintranslation.Let÷Sfirstlookat“丛菊两开他日泪,孤舟一系故园心一.Threetranslationversionsaregivenasfollows:Version1:I?11weepforhavingtwiceseenastersbloomanddie:lonelyboatyetanchorsmyheartthat111homef13,.一translatedbyWLIJuntaoVersion1:Chrysanthemumshavebloomedtwice、加thmytearsofthepast;Toasingleboatarecleavingmythoughtsnostalgic.·-——-——translatedbySunDayuVersion3:Clusteredchrysanthemumshaveopenedtwice,inte£xsofotherdays:neforlornboat,onceandforall,tethersmyhomev·ardthoughts.---—-——translatedbyGrahamInthispoem,therearetwoverbs一“开’jand“系”.Inthissentenceform,heretheword“开”inEnglishmeanstheopeningofchrysanthemums.Whetherthey“opened”,or“areopening”,or“willopen一:intheoriginalpoem,theword”开”appearsonlyinoneformandtherejrenoobvioustense.nlisshowsthequalityofparataxisandimplicationofChineselanguage.Specifically,itexpressesgrammaticalmeaningandlogicalrelationsbasedonthemeaningofwordsandclauses,andfocusesonthecoherenceoftextualsense.InChinese,thewordsdon’tshowobviouslygrammaticalfunctions,norchangesoftenseandvoice.Thetense,voiceandtoneareoftenimpliedinthesentences.Takeverbsforexample,theyhavenochangesintenseandforminClassicalChinesepoetry.111eword“开”,whentranslatedintoEnglish,isbomldtohaveobvious45 四川师范大学硕士学位论文temporalnature.Itappearsinonetense.Englishisahypotaxislanguage.whichconnectswordsandclausesthroughmorphologicalchangesofthewordsandcohesivedevices,SOastoexpressgrammaticalmeaningandlogicalrelations.ItattachesimportancetOthecoordinationbetweenoneformofsentencesandtheother.ThisshowsthedifferencesbetweenEnglishandChineselanguage.Whattenseshouldbeusedwhentranslating“开”?ItiSmainlydeterminedbytheauthorjSunderstandingof“他日”.InancientChinese.“他日”hastwomeanings:onedayinthepast;onedayinthefuture.ThelatterismorefrequentlyreferredtO.Accordingtotheoriginalpoem,ithasbeentwoyearssincethepoetleftChengdufortheeastofChina.Havingtwiceseenchrysanthemumsbloomed!hethoughtofthepasttimeandcouldnothelpsheddingtears.Sohereweshouldtakethemeaningof‘'thepast”.AsweCansee,thethreetranslationversions.“havingtwiceseenastersbloomanddie’:byWuJuntao,“havebloomed”bySunDayu.and“haveopened”byA.C.Grahamallinterpret“他日’‘asthemeaningof“thepast'‘.TheyallusethepresentperfecttensetOindicatethemeaningof“菊花开过”.AccordingtOtheviewpointofCroce?SExpressionistAesthetics!inliterarytranslationprocess,“thetranslatorwillbesubjecttOvariousconstraints”(李洁78).Tobreaktheseconstraints.itrequiredthetranslatortOexerthissubjectivity:tocreate“anew,beautifulproductthatfacesthetargetreadersandreflectshisovenintuitionandcreation”f李洁78).Furthermore,wecanseethatforthesetwoverbs,threetranslatorsselectdifferentwordsintheirowntranslationversions.Let’Sfirstlookatthetranslationoftheverb“开”.HereinChineseitrefersto“菊花开放”.WuJuntaotranslateditas“bloomanddie”,SunDayuas“bloom”,whileGrahamas“open”.InEnglish,“bloom’’means‘‘toproduceflowers”,whichsoundsreasonablereferringto“菊花开放”.Theverb“open”CanalsobeusedtOdescribeflowers,asin“Theflowersarestartingtoopen”.Asfortheverb“系”.WuJuntaotranslateditas“anchors”,meaning‘'tofixsomethingfirmlyinpositionSOthatitcannotmove”.A.C.Grahamtranslateditas“tethers”.meaning“totieananimaltoapostSOthatitcannotmoveveryfar”.BoththetwoversionsCanexpress 卫呈■anslator’sAestheticSubjecti、鹏7intheTranslationofEightOctavesOYl4utumnalMusingsthemeaningof“系”.“Therearesimilaritiesamongthedifferentproductsorartisticworks”,“Becauseofthesesimilarities,translationisonlyrelativelypossible;thetranslationisnotareplicaoftheoriginalproducts(translationc{mnotmake)÷butaproductsimilartOtheoriginal”f朱光潜83).Herethetranslationofthetwoverbs“开”and“系”bythreetranslators.reachedtheapproximationtOtheoriginalmeaninginthepoemline.Crocealsoproposedthe“relativepossibilityoftranslation”(朱光潜83).Tothesameverbs“开”and“系”jdifferenttranslatorsmaytranslatedifferentl)r,whichalsoindicatestherelativepossibilityoftranslationIftranslationisabsolutelypossible.thentherewouldbeonlyoneversionfor“开”and“系”.ratherthantwoormoreverbsused。Thetranslationofverbscailnotbeareplicaoftheoriginalwork.Itmustcontainthetranslator?Sselectionandcreation.Hereisanotherexample:theverb“die”carlbeusedtOrefertoplantswiltandwither.Forinstance,WuJuntao’Stranslation“bloomanddie”÷Cannotonlymean“开一jbutalsomean“落”.ThisCanbeconsideredasembodyingthesubjectivityandcreativityofthetranslator.Fortheverbs“开”and“系一.threetranslatorsselecteddifferentvocabulariesfortheirtranslation?itmeadsthatthesethreetranslatorshavedifferentunderstandingsofthesetwoverbs.Sointranslation?the3,infusetheirowncreation.Again!itembodiesthetranslators’subjectivityandcreativityandprovestherelativepossibilityoftranslation.3:4.1.2AdjectivesChineseisalanguageofparataxisanditmainlyworks“throughthemeanofwordsandclausestoexpressgrammaticalmeaningandlogicalconnection?’(/gN能48).andthesyntaxandsemanticsareoftenobscurewithvagueness.TheobscenenessaddvaguenessinChinesepoetryalsoindicates“_Imcertainty,’jwhichneedsthereceiver.i.e.thereaderto“reveal”.to“supplement’’tomakethem“specified”.Taketheadjectivesintheclassicpoetryforexample.、firstlywecanfindthattheirpositionsintheverseareratherflexible.Asweknov~;theadjectivesare47 四川师范大学硕士学位论文oftenattachedtOnounsthatindicatepeopleorsubjectstogether,SOtheyfunctionasmodification.Intranslation?thetranslatorisrequiredtoplaythesubjectivitytOjudgethenounequivalentsthataremodifiedinthepoems.What’Smore,someadjectix,asthemselvesintheoriginalpoemhavecertainculturalsignificances,SOthetranslationofadjectivesisnotonl37a"kindofinterlingualtransformationjbutalsothetransformationfromonecultureintotheanotherculture.Thetranslator:S“supplementation‘‘ofculturalsignificationalsoclearlydisplayshisorhersubjectivity.Basedontheunderstandingoftheoriginalpoem,thetranslatorisrequiredtOappropriatelydealwiththetranslationofadjectives,SOastoconveytheculturalinformationoftheoriginalpoemtomaximumextentandrealizetheaestheticrepresentationandemotionalexpressionoftheoriginalpoemLet:Sanal)7zethetranslationofafewadjectivesinAutumnMeditationsFirstwelookatthetwotranslationversionsof“鱼龙寂寞秋江冷■Version1:WhilethefishandthedragonsfallasleepandtheautumnriverturnscoldVersion2:HerewherefishanddragonlieQuietlyinthecoolautumnⅥ,aters:translatedbyGraham·-·。——translatedbyRewiAlleyWeCanseethatinthelineof“鱼龙寂寞秋江冷”,theadjective“寂寞:’modifiestheobject“鱼龙”.Grahamtranslateditinto“fallasleep”,andRewiAlleyinto“liequietly”.Accodingly,thetwotranslatorshavemadedifferenttranslations.Theword“寂寞”isoftenusedtodescribethemoodoflonelinessorsolitude.Itgenerallyreferstothefeelingofmissingfamilies,friendsorsomeonewhentheyayenotwithoneself.Italsodescribestheconditionoflonelinessandhelplessness.What‘‘worthnoticingisthatthiswordhasmoredeepmeaningsintheoriginalpoem.AccordingtOShui,lingZhu,“thefishesandthedragonstakeautumnandwinteraS48 TheTranslator‘SAesthericSubjecti、,岭intheTranslationofEightOctavesOnAutumnalMusings’。。‘‘。。‘。。。。。。。—。’’。’’‘‘。。‘。。。。。。’—‘’。’‘‘。‘。。‘‘。。。。。。—。‘___‘。。。。‘-_-__·—-_‘-_·_______-__———·—_________--____一·_l·______·____-_____;_---—-___-_一night(鱼龙以秋冬为夜)”.Itistraditionallybelievedthatthedragonstakeautumnasnightandafterautumnalequinox,the),diveintodeepwater.Thefishandthedragonsgenerallyrefertoaquaticanimals.Therefore:accordingtothisancientmeaningj“寂寞”referstothatwhenautumncomes,theaquaticanimalshidethemselvesratherthankeepmoving.Herethe“鱼龙”isusedasg:a-1objecttodescribeitssolitudeSOastorefertothelonelymoodofthepoetandhismissingofthecountry.Thatis“turningtheinnerfeelingsandaestheticformoJ、theexternalthingsintoanvisualizedimageandpresentitinthepoem”(马新国2C·02).Therefore!“寂寞”intheoriginalpoemisendowedwithtwomeanings.firstlyitreferstothehidingof“鱼龙”.secondlyitreferstothepoet?Slonelyfeelings.As’wehavementionedabove:“languageisthecarrierofcertainnationalcultureandthedifferentfeaturesofdifferentnationalculturesarecertainlyreflectedinlanguage”.Fortheword“寂寞”inthepoem,ithadmulti-meanings,showingthe“semanticobscurenessj:and“vagueness”inChineseexpression.Sotheinterpretationoftheword“寂寞”hereisratheropen,flexibleforthereaderstorevealorsupplement.AsFuLeisaid,undertheinfluenceofthewesternculture,Englishemphasizesanal),sisanddetails.Whenoneexploresit:he/sheisafraidnottocompletelyexploreit;andwhenonedescribesit,oneisafraidnottooverallydescribeit.Thereforejwhenthetranslatortranslatestheword“寂寞”intoEnglish.hehastochooseonemeaning.Ifitneedstorestorethepoet’Slonelyfeelingsdirectlyintheoriginalpoem.theEngli,;hequivalentof“寂寞”shouldbe“lonely”or“solitary“.etc.However,wefindoutthatneitherofthetranslatorsusedthesewordsintheirtranslatedversions.The3,interpreted“寂寞”as“fishanddragonlie”.Therefore,thetranslationisas“thefishandthedragonsfailasleep’:and“fishanddragonlieQuietl3,”respectively.Andforthetwodifferenttranslationsof“fallasleepj÷and“liequietly”.wecarlseethemasthetwotranslatorshavingtwodifferentunderstandingsoftheword“寂寞”.SO“reveal”and“supplement’:themasdifferentlanguageformsInconclusion,whenwetrytocomparetheword“寂寞”intheoriginalpoemtoitstranslations“fallasleep’’and“liequietly”.itisnotdifficulttofindthat49 四川师范大学硕士学位论文differentnationalculturesalwa),SleadtOlanguagedifferences.InChinese,theadjective“寂寞”haspob,semyandCanexpressthefeelingof“loneliness,solitude’j:whilethetargetlanguage“emphasizesanalysisanddetails一.Therefore.herethetranslatedadjectivesinthepoemlinesconveytheoriginalmeanings:butthelanguageispalewithoutartisticappeal,whichfailstOrepresentthefeelingsoftheoriginalpoem.Thisshowsthatintranslatingprocess:thetranslator’Simerpretationoftheoriginalpoemscannotavoidtobeaffectedbythedifferencesoflanguageandculture.Thetranslatorisusuall),unabletOdealwellMththeaspectsofconveyingoriginalmeaningsandrepresentingoriginalemotionssincethedifferencesoflanguageandcultureCanbeanobstaclethatisagainsttheroleplayedbythetranslatorforhissubjectivityanditleadstOcertaindifficultiesforthetranslation.Let‘Sseethetranslationsof“孤舟一系故园心■Version1:Thelonelyboatyetanchorsmyheartthat‘11homefly.Version2:·-—。·——translatedbyWuJuntaoTheforlomboat:onceandforall,tethersmyhomewardthoughts.一translatedbyGrahamHeretheadjective“孤”isusedtOmodify“boat”.“孤’?hasthemeaningofsolelyandone”,SOhere“孤舟一isunderstoodas“aboat”.Inaddition,“孤?:Canalsorefertopeople:Sinneremotions,like“孤单”,“孤苦”,‘‘孤独”,etc.InthetWOtranslatedversions:theword“forlorn’:means“(ofaperson)appearinglonelyandunhappy.“lonely??refersto“unhappybecauseyouhavenofriendsorpeopletotalkto”.Bothofthesetwowordscarlbeusedtoindicatepeople’S“loneliness”,“bitterness’?and“solitude”.Wefindoutthatinthetwotranslatedversions,thesetwowordsareusedtomodify“boat“!SOherearetranslatedas“Thelonelyboat’?and“Theforlornboat”.InclassicChinesepoetry.theimage“Theforlornboat!’isoftentakentO.expressthemeaningof‘;lonelyandbitter”!or“wandering”.Accordingtotheoriginalmeaning,the“lonely?’inthe“Thelonelyboat’:actuallyreferstOthe50 TheTranslator‘sAestheticSubjectMtyintheTranslationofEightOctaves07l4utumnalMusingspoet:Sinnerloneliness.Readingtheoriginalpoemisactuall37astartingpointoftranslationactivitiesunderwhichthetranslatorisobjectivelyconstrained.However,thetranslatorisexpectedtOsupplementtheblanknessortheuncertainfactorslikethelanguageform,andculturalconnotations.Thetwotranslators‘translatedversions“Thelonelyborn::and“Theforlornboat’!havekeptconsistencywithoriginalpoeminlanguageform.However.ifthetranslationof“孤舟”doesnotobtainthesimilar“culturalconnotation—fromtheoriginalpoem.thetranslationol?“Thelonelyboat‘:and“Theforlornboat”willbeonlythesameinformasoriginalpoem.ReadersoftargetculturearedifficulttOfeelthepoet:Sinnerfeelingoflonelinessfromthislanguageform.Languageisthecarrierofcertainnationalcultureandthedifferentfeaturesofdifferentnationalculturesarecertainlyreflectedinlanguage,thedifferentculturalbackgroundoftranslatorsleadstolanguagedifferences.Therearealsothetranslationof“同学少年多不贱,五陵裘马自轻肥■Version1:Andmyyoungschoolmatestheyallhavefortuneontheirsides;Inlightfurs,onfatsteeds:throughthefiveTombstheyrideVersion2:....——translatedbyWuJuntaotheschool-friendsofmychildhood,mostdidwell.BytheFiveTombsinlightcloakstheyridetheirsleekhorsesVersion3:.-----——translatedbyGrahamAsmyfellowstudentsofyorevdthj037dothrill,Thosefavoredonesallprosperinwealthandfame.———translatedb3SunDayuHereweemphasizeanalyzingthetranslationof“轻肥”inthepoemAccordingtotheconnotationoftheoriginalpoem,“轻肥”isusedtomodify‘‘裘马”,both“轻肥”and“裘马”arederivedfrom“乘肥马衣轻裘”(《雍也》jinAnalectsofConfucius.Theserefertoonewhowearssoftandfurcoatanddrives 四川师范大学硕士学位论文carriagepulledbyfourhorse.Therefore:“轻肥”areactuallytwoadjectives:“轻一modifiesthenoun“裘”jand“肥”modifiesthenourl“马”.However,intheoriginalpoem.thetwonounsandtwoadjectivesaremmchedrespectively.Soinoriginalpoem,suchkindofsemanticmatchis、,agueandhasbecome“meaningblanknessanduncertainties”inthepoem.On]37byspecifyingtheseuncertainfactorsandsupplementingtheseblankness,carlthetranslator’StranslationactivitiescontinueFromthethreetranslated、,ersionsabovewecarlseethatthetranslatedpoemispresentedincompletesentenceforms.Thesubjects,predicatesandprepositionalphrasesareallincludedand“thestructureiscompact:strictandclear”(朱慧杰,傅瑞芳10)SOastomakethevaguesemanticrelationsintheoriginalpoem“explicit’’inthetranslated、,ersions.However,differentunderstandingsoftheoriginalpoemsmakethetranslatedversionsappeardifferent.Differenttranslatorsmayusedifferenttranslatingmethodsanddifferentwaystoselectwordsandphrases.TheformertwOtranslatedversionsusetheliteraltranslationmethoCandtheequivalentsof“五陵”、“裘”、“马”、“轻”、“肥”Canallbedirectlyfoundintranslatedpoem.Theadjective“轻”inboththetranslatedversionsisinterpretedas“light”.and‘‘肥’:isrespectivelytranslatedas“fat?:and。‘sleek”.Inaddition.thetranslatedtextrepresentstheoriginalmeaningsoftwoadjectix,es“轻”and“肥一andtwonouns“裘”and“马”.Butthetranslatedversion3usesthemethodoffreetranslation,theadjectiveslike“轻?jand“肥”intheoriginalpoemcannotbefoundtheequivalentsorwordsofsimilarWOrdsinthetranslatedversion.Thetransition“prosperinwealthandfame’:isusedparaphrasingthemeaningof“乘肥马衣轻裘.”Thedifferentundei—standingoftheoriginalpoemmakethethreeversionsappeardifferentduetothefactthatthetranslatorschoosedifferenttranslatingmethodstointerprettheoriginalpoem.3.4.2TheAestheticSubjectivit37inSentenceTranslation3.4.2.1Non-subjectSentencesClassicalChinesepoetryfollowsthetraditionalphilosophicalthinkingof“unityofheavenandmankind(天人合一)”and“subjectandobjectbeingble52 TheTranslator‘SAestheticSubjectivib’intheTranslationofEightOctavesonAutumnalMusingsndedintooneharmoniouswhole(物我两忘)”.Thesubjectisusuallyimpliedoromittedandthere?remanynon—subjectsentencesandsubject-omittedsentencas。Inthisway:thesubjectandobjectcanreachanatural:fusion,thusmakingthedescriptionmorefluentandfree.ThisisalsotheconcretemanifestationoftheChineseparataxisfeature.ThefuzzinessoftheoriginalpoemCanbeunderstoodasthe“blankness’:and“spotsofindeterminacy’:oftheoriginalpoam.Astheaestheticsubjectoftheoriginalpoem,thetranslationprocessistheprocesswhichthetranslator,relyingonhisownundersumdingandcombininghisOWTIaestheticandlifeexperience,exertshissubjectMtyinordertofillinthe“blankness”andconcretizethe“spotsofindeterminacy”.Inthefollowingpoemlines.thenon—subjectsentencesandsubject-omittedsentencesinAutumnalMusingswillbetakenasexamplesasananalysisonhowdifferenttranslatorshandlethefuzzinessofthesubject,whichCanbeunderstoodasonetypeof“blankness:!and“spotsofindeterminacy.’:As“丛菊两开他日泪~.Twotranslationversionsareofferedasfollows:Version1:Clusteredchrysanthemumshaveopenedtudce,intearsofotherdays.Version2:.....——translatedbyGrahamI?11weepforhavingtwiceseenastersbloomanddie.....——translatedbyWuJuntaoAsweCansee.thetwOtranslatorsoffereddifferenttranslations.Thesetranslationshavedifferentsubjects.InGraham’Saestheticunderstanding,thesubjecthereis“clusteredchrysanthemums”;whileinWuJuntao’Stranstation,thesubjectis“I"In“丛菊两开他日泪”.“丛菊”standsinthepositionofsubject.However,accordingtothemeaningoftheoriginalpoem,thepoetlamentedthepassageoftimeandthenshedtearswhenhetwicesawthechrysanthemumsbloomed.Itisthepoetwhoshedtears,notthe“丛菊”.Therefore,therealsubjectoftkispoemisthepoet,53 四川师范大学硕士学位论文i.e.“I”.Intheoriginalpoem.wecannotfindthecorrespondingword“我”.Thesubjectisimpliedinthelinehere.TheimpliedsubjectCanbeunderstoodasthe“blankness??and“spotsofindeterminacy”oftheoriginalpoem.ThisisafeatureoftheclassicalChinesepoetry,whichisthemanifestationofChinesehypotaxis.Bycomparison,Westernphilosophicalthoughtemphasizesthatthe“Heax,enandmarlareseparate—jattachingmuchimportancetoindividualandrationality.Englishhypotaxisfeaturesdeterminethatthesentencesshouldmaintainthetraditionalsubject—predicatestructureandhaveaclearsubject.Therefore,whenthetranslatortranslatestheclassicalChinesepoetry,heisexpectedtofillinthe“blankness?’and“spotsofindeterminacy”ofthesubject:thusmakingthesentencecompleteandtheimpliedsubjectsclear.Inthetranslationof“Clusteredchrysanthemumshaveopenedtwice,intearsofotherdays”byGraham,thesubjectis“clusteredchrysanthemums”.Itisfolloweddirectlyby“haveopenedtwice??and“intearsofotherdays”.Accordingtosuchsentencestructurearrangement,itwouldbethe“chrysanthemumsj:whichnotonl)“opened?:butalso“shedtears”.Thisseemsnotconsistentwiththemeaningoftheoriginalpoem,althoughthetranslationisconsistentwiththeoriginalpoemintheform.Theoriginalpoem“丛菊两开他日泪”hidestherealsubject—thepoetinthelines,SOthatthesubjectandobjectarenaturallyfusioned,thusmakingthedescriptionmorefluent.ThisisalsoafeatureoftheclassicalChinesepoetryandthemanifestationoftheChineseparataxisfeature.ReadersfamiliarwithChinesecultureCansensetheimpliedsubjectofthepoem.InWuJuntao:Stranslation,“I'llweepforhavingtwiceseenastersbloomanddie”,“I”actsasthesubject.Inhistranslation,therealsubjectimpliedintheoriginalpoemappears.Inthisway,thepoetbecomesthenarratorwhoappearsinthetranslation.“I’11weep”inChinesemeans“我落泪”.whichisconsistentwiththemeaningoftheoriginalpoem.Theword“for:’leadstothecauseofweeping,i.e.“havingtwiceseenastersbloomanddie”.Thewholetranslationmaintainsthetraditionalsubject—predicatestructureinEnglishandclarifiestheimpliedsubjectoftheoriginalpoem.ThisEnglishtranslationmakesit TheTranslator‘SAestheticSubjecti、,醇intheTranslationofEightOctavesonAutumnalMusings——————‘’————————’——————’————。。。’—’————————’————‘———’_·——————_———————·—_—————————_————————_—__——-———一——_—_———_—_—-.-__—-=————————一possibleforthetargetreaderstOunderstandthemeaningoftheoriginalpoetry.translatoristhereaderoftheoriginalpoem.Eachtnmslatorapproachestheoriginalpoemwithhisspecific“horizonofexpectations”.Inthisprocess:thetranslator:Shorizonofexpectations“determinesthewa3,Sforhiszontentandformofhistranslationwork:hisselectionandfocusintranslation.aswellashisbasicattitudetowardsandevaluationoftheoriginalwork”(朱立元15).Inthisway,theinterpretationoftheoriginalpoemfromdifferenttranslatorswitlbeendowedwithdifferentsubjectivefeatures.Withdifferent“horizonofexpectations”.thetwotranslatorsintendtOunderstandtheoriginalpoemdifferently.Graham:Stranslationisconsistentwiththeoriginalpoeminform.notinmeaningHistranslationis“form。focused”.UnlikeGraham.WuJuntaoclarifiestheimpliedsubjectoftheoriginalpoem.Hiseffortoftranslationisconsistentwiththeoriginalpoeminmeaning.Inthisway:thetargetreadersCanbetterunderstandthemeaningoftheoriginalpoem,thusachievingthe“fusionofhorizons’:betweenthetranslationandtargetreaders.Thenlet:Slookatthetranslationof“日日江楼坐翠微一.Twoversionsareofferedhere:Version1:DayafterdayinthehousebytheriverIsitintheblueofthehills.·----——translatedbyGrahamVersion2:InthetowerbythefiverIdailysittothegreens.———translatedbyWuJuntaoIn“日日江楼坐翠微一,“江楼”and“坐”areputtogetheJ‘,asifitis“江楼”thatisplacedto“坐”.Thisraisesaseriesofquestions:Is“江楼”thesubjecthere?What’Stherelationsbetween“日日”!“江楼”,“坐”:and“翠微”?Howtoreproducetheserelationsintranslation?AccordingtOthemeaningoftheoriginalpoem,thepoet,i.e.“I”wouldgotothetowerbytheriversideeveryday,sitandseethegreenmountains55 四川师范大学硕士学位论文across.So”I”isthesubjectoftheoriginalpoem.Butthesubjectishiddenhere.Intheoriginalpoem:thefuzzinessofthesubjectisoneofthe“spotsofindeterminacy一.Aswecansee?thethreetranslationversionsallfillthehiddensubjectoftheoriginalpoemas“I一:thusmakingthepoetbeoutofthehiddenplaceintranslation.Furthermore.wecanalsoseethatbothGrahamandWuJuntaotranslatedtheoriginal“日曰江楼坐翠微”wordbyword.Forinstance.“日曰”isrespectivelytranslatedas“dayafterday“and“daily”!“江楼”as“thehousebytheriver”and“thetowerbytheriver一,“坐”as“sit”ofbothand“翠微”as“theblueofthehills?:and“thegreens”.Here“Dayafterday’’and“daily’’actastimeadverbials,referringto“日曰一.Inthetwoversions,thefuzzinessrelationbetween“我”and“江楼”isrespectivelyfilledas“inthehousebytheriverIsit”and“InthetowerbytheriverIsit”.Accordingly,thesetwotranslationversionsmatchthemeaningof“在江楼上”.Thefuzzinessrelationbetween“我”and“翠微”isrespectivel)’filledas“Isitintheblueofthehills::and“Idailysittothegreens”.Theconjunctions“in“and“to”presentacertainrelationbetween“我”,“江楼”and“翠微”.ThisisthedifferencebetweenEnglishandChineselanguage.“Chineselanguageemphasizeshypotaxis,andconnectingcomponentsarenotnecessary;whilethewesternlanguagesemphasizeparataxisandconnectingcomponentsareindispensableinmostcases”(王力31o).Furthermorej“Isitintheblueofthehills?’and“Idailysittothegreens:’aredifferentinlogicalrelationbecausetwodifferentconjunctions一“in’jand“to”areused.TheformerversionistranslatedintoChineseas“坐着看对面青翠的山峰”,whilethelatteroneas坐着,面对着青山”.Theoriginalpoemimplicatesthemeaningof“watch”,butthetwovisionsneglectit.Therefore:wecanmakeaconclusionthatintheprocessoftranslation:EnglishandChineseastwolanguageswithdistinctivecharactersareincimmensurableanduntranslatableinvariousaspects,SOitisdifficulttobecompatiblebetweenthetranslatedversionsandtheoriginalversion.Here,wecannotjudgewhichtranslationversionisbetterwhenweknowthetwotranslatorS56 TheTranslator‘sAestheticSubjectix,ibintheTranslationofEightOctavesOnAutumnalMusings。。。。。。。’。。。。。’’‘‘’’。。’。。。。’。。。。。。。‘‘’’’。1’’。。‘。。。。。。‘’。。_。。。。。。。‘-__-··__·-_________··-__·___-·_________-·-一·________________—___=—---________一handlethe“spotsofindeterminacy”indifferentways,for“intheprocessoftranslation:thetranslatorisfrstlythereaderoftheoriginaltext.IntheReceptionAestheticssuchatranslatorisconsideredasthereceptionsubject。Heorshemayinevitabl37appreciatethetextobjectwiththeirOWl3intentions.Inthesameway!heorsheacquiresinformationfromthetext,makeshisorherownaestheticjudgementandconcretizestheindeterminacyofthetext.His/hereffortsdohavesubjectix,etraces⋯”(王文斌56)3.4.2.2InvertedSentencesAsoneofDuFu’Smasterpiece;占ightOctavesonAutumnalMusingshastheveryhighartisticachiex,ement.Thesentence“语不惊人死不休”reflectshisattentiononsyntactictricks.ThemainsyntactictricksinEigh,OctavesonAutumnalMusingsarepresentedinaspectsas:syntacticcondensation:upside-down,andsegmentation.Taketheinvertedsentenceasanexample,WangShizhen:ahistorianofMingD>aaasryoncepointedoutthatthessnataxmaybestraightorinsert:andtheinsertisthemostdifficult.NoonecandoitexceptforMrDu.Doesithax,eeffectonthetranslator:Stranslationforsuchuniquesyntacticstrucmres?Howdoesthetranslatorexertsubjectivity.andhandlethesyntacticproblemsintranslationtOpresentthebeauty.oftheoriginalofpoem?HeretheauthortakesEightOctavesonAutumnalMusingstOanalyzehowthelypicalinvertedsentences;lyetranslated.sentence“香稻啄余鹦鹉粒,碧梧栖老凤凰枝一pcrtraysthatalargeamountsofaromaticricewereharvested,whichnotonlysupplypeople?Sneedsbutalsofeedparrots;greenfirmianaattractedphoenixesperchedonthebeach?whowouldnotleaveuntiltheydied.Theparrotisableto“peck?’becausethe“aromaticricejjhasnomouthandcan:t“peck’?:thephoenixisableto“perch‘jbecausethe“greenfirmiana’’hasDOfeetandCan’t“perch”.Thereforeitisallinvertedlineinhispoems.Thecorrectorderofthetwosentencesshouldbe“鹦鹉啄余香稻粒,凤凰栖老碧梧枝”.Theconversionofwordorderavoidsplainnarrative.Furthermore,thepoetpraisesaromaticriceandgreenfirmianaratherthanpmTotandphonix.It57 四川I师范大学硕士学位论文indicatesrichproductioninChangAn,SO“aromaticrice’’and“greenfirmiana’jareplacedinthebeginningofthesentencetoemphasizebothofthem.Meanwhile,theemphasisimpressespeoplewithadeepeningmemouofChang?anatthattime.achievingamagicalaestheticeffect.WhenthetranslatorattemptstOtranslatetheinvertedsentence:shouldheorsheremaintheinvertedstructureoftheoriginaltextormakeachange?Isthetranslatedtextcomparabletotheaestheticeffectoftheoriginalpoet?Herearethetranslationversions:Version1Thegrainsoffragrantriceareb37parrots!pecksleft;Firmianabranchesgreen,longbyphoenixesperchedbe;Version2:______——translatedbySunDayuGrainsfromthefragrantrice—stalks?peckedanddroppedbytheparrots:Onthegreen、Ⅳu~tungtreebrancheswhichtheperchingphoenixaged.Version3:translatedbyGrahamParrotshaveleftafewgrainsonstalksofgrainfedtothem,Andherestandsthewutongtreewhereonceaphoenixperched.·_____——translatedbyRewiAlleyChineseculture“emphasizesimplicationandconnotation;itpossessesthecharacteristicofparaiaxisinlanguage;informitfocusesoninherentmeaningratherthantheformands3,ntacticstructure”(刘宓庆74).“Therelationbetweenwordsisdeterminedbytheirlogicalrelationshipandmeanings”(刘宓庆74).Inthepoem,!thewords“香稻”,“啄”,“鹦鹉一:“碧梧”,“栖”and“凤凰??arearrangedinanirregularway,whichreflectstheflexiblesyntacticfeaturesinChinese.InthetwotranslationversionsrespectivelybySunDayuandGraham,“香稻’:istranslatedrespectivelyas“Thegrainsoffragrantrice?:and“Grainsfromthefragrantrice—stalks”.Whatjsmore,inthetwoversions.“香稻’’isplacedinthe58 —TheT—ranslatori唑stheticSubjectiviDintheTranslationofEightOctavesOnAutumnalMusingsbeginningofthesentence,while“parrots”isbehind.“碧梧”istranslatedrespectivelyas“firmianabranchesgreen’!and‘'thegreenWH-t‘ungtreebranches”.Similarly,“碧梧”isplacedattheverybeginningofthepoem.while“phoenixes”isbehind.Thus,thetranslationversionsobviouslyemphasizeon“香稻”and”碧梧”.ratherthan“parrots‘:and“phoenixes??inordertoremainthe:originalintentionBothof“香稻啄余鹦鹉粒”and“碧梧栖老凤凰枝”intheoriginalpoemareinvertedlines.ThedifferencesoflanguageandculturebetweenFmglishandChinesemakeitdi箭cultforthetranslatortocarry"outhistranslationandrestricttheexertionofhissubjectivity.Itisdifficulttomaintainthecompleteconsistencewiththeoriginalpoeminsyntaxwhenheisintheprocessoftranslation.Thetwotranslators“concretize”thetwoinvertedsentencesindifferentways.SunDayutranslated“香稻啄余鹦鹉粒”as“Thegrainsoffragrantricearebyparrots’pecksleft”:Grahamtranslated“碧梧栖老凤凰枝”as“OnthegreenWU—t’ungtreebrancheswhichtheperchingphoenixaged”.Insyntax:thetwotranslationsusedtheskillofinversion.Tomakethetranslationpoembe“similarto”theoriginalpoem,eachtranslatormadetheirownefforts.Neitherofthetwotranslation、,ersionsisasimple,mechanicalcopyorimitation.Thetranslationversionakindofcreativeactivit3,whichcontainsthetranslatorjSsubjectivityandcreativityonthebasisoftheoriginalwork.Asaresult?thetranslationversionisanewproductsimilartojbutnotthesameastheoriginalwork.Aswecansee,inRewiAlley?Stranslation,eachlineofthepoembecomesacompletesentence,SOtherelationsbetweenthewords:suchas“香稻”:“啄”,“鹦鹉”,“碧梧”,”栖”,and”凤凰”becomedistinct.ItjSnodoubtitconformstotheusualpracticeofEnglishsyntax.However.itneedstobenotedthatincomparison谢mtheoriginalpoem,thelanguageofhistranslationseemsstraightforwardandtackofimplication,andtheaestheticeffectisgreatlyreduced.Furthe:rmore,RewiAlleyplaced“parrots”atthebeginningofthepoemjasaresultofwkichtheemphasisisshiftedto“鹦鹉”ratherthan“香稻”.ItalsoshowsthedifferenceoftwotranslationVerslOns.59 四川师范大学硕士学位论文“石鲸鳞甲动秋风一isalsoainvertedline.Thepoetputitthiswayinordertomatchtheformerline“织女机丝虚夜月”bothinsoundandmeaning.producingabeautifulimageinform.ThisspecialsyntacticstructureleadstO“indeterminacy”intheoriginalmeaning.Themeaningof“石鲸鳞甲动秋风”canbespecifiedas’。theautumnwindisSOstrongthatitseemstomovethescalesofthestonefish‘:or“asifthescalesofthestonefisharewaxringinthestrongautumnwind”Thenjlinesthatmatchthesetwomeaningswillrespectivelybe“秋风动石鲸鳞甲”and“石鲸鳞甲秋风动”.Let’Sseethetranslationofthisline:Version1:Thestoneporpoise’SscalesseentOwax,einautumn:Sgroan.Version2:.....——translatedbyWuJuntaoAndthegreatstonefishjSplatedscalesveerintheautumnwind.translatedbyGrahamIntheabovetWO、7ersions.“石鲸鳞甲”istranslatedrespectix,elyas“Thestoneporpoise÷Sscales”and“thegreatstonefish’Splatedscales”,while“动一as“wave”and“veer一,“秋风”as“autumn?Sgroan”and“autumnwind”.Furthermore.bothtwotranslatorsusedthepreposition“in”.Therefore,neitherofthetwotranslationlinesmatchtheoriginalline“石鲸鳞甲动秋风”wordbywordAccordingtOthesentenceorderinthetranslation,thetranslationmeans“石鲸鳞甲秋风动”.Here:whiletranslatingtheoriginalpoem.thetwotranslatorsmadeeffortstospecifytheindeterminacyinthepoembyusingtheirOV~TIimaginationandcreativethinking.Atthesametime,theyanalyzed,judgedandunderstoodtheoriginalpoembasedontheiruniqueviewoftheworldjculturalcompetenceaswellasaestheticinterests.Then?whatformsintheirmindisnolongertheoriginal鲸鳞甲动秋风”.Instead,itisanartisticproductproducedafterthetranslator.beingthereader,experiencesandunderstandsthelineof“石鲸鳞甲秋风动,:HistranslationCanbealsocalleda“secondtext’j;which,afterbeingtranslated,isboundtobedifferentfromtheoriginalpoem.Thetwotranslatorsinterpreted VerSlOnS.Let:Shavealookatanotherline“云移雉尾开宫扇”.’Fhislinedescribesthesituationthattheemperordiscussednationalaffairswi‘:hministersinthemorning.DuringtheperiodofKaiyuanandTianbaoinTangDynasty,whentheemperorcameintheimperialcourtjpheasantfeathersfanshidhimfrombeingseenasabarrier.Thepheasantfeathersfansweremovedawaywhentheemperorsatatthethrone.SoitCanbe,seenthat“movingcloud。:and“open—indicatethisactivit37whichpresentsthefanlikethecloudmoving.Pheasantfeathersfanoriginallyreferstothesamething,butthewordswererestructuredandinvertedbyDuFu,makingthelanguagewell—proportionedandartisticconceptionoverlapping.Howdoesthetranslatorhandlethespecialsyntacticstructure?Becauseofdi:gerencesofsurfacestructuresandthinkinghabitsbetweenEnglishandChinese,thetranslatorinevitabl),useshisorhersubjectivecreationinthereproductionoftheoriginalwork.InthefoltoMngarethreetranslationverSionsof“云移雉尾开宫扇”VerSion1Whenpheasant—tail—fansmovelikecloudsrollingaway,Version2:·----——translatedbyWuJuntaoLikecloudsthefansofpheasants-tailplumesmovetoope;Version3:,----——translatedbySunDayuThecloudsrollback,thepheasant—tailscreensopenbeforethethrone:.....——translatedbyGrahamAccordingtOReceptionAesthetics,afterthetranslatorCompletesthepreliminaryactivityofreading,heisinthestatusoftheoriginalauthor,andbeginscreatinghisoriginaltextwiththetargetlanguage.Aswecansee.inthefirsttwolines,eitherin“pheasant—tail-fans”orin“thefansofpheasants.tailplumes”,“雉尾宫扇”isunderstoodasonesinglething.Thewords“likeclouds”and“move”are 四川师范大学硕士学位论文consistentwiththeoriginalmeaningof“像云一样地移开”.ThiskindoftranslationiseasierforthetargetreaderstOunderstand.Here?thetwotranslatorstookinitiativetOconsidertheacceptablelevelandaestheticrequirementofthetargetreaders.SOthatthetargetreaderscanunderstandandacceptthetranslationandreachthefusionofhorizonsbetweenthetranslationandthetargetreaders.“Thevalue-adding,devaluation,dex,iation,anddefectofinformationintheprocessoftransferringaremainlyrelatedtothereceptioncapabilityofthetranslator,thereaderorlistenerjj,(方梦之27).Inthetranslationb3,Graham.“雉尾宫扇”istranslatedas“thepheasant—tailscreens”.Separatedform“Thecloudsrollback”.itfailstoreachthemeaning“雉尾宫扇像云一样地移开”.ThisCanbeconsideredas“thedevaluation.deviation,anddefect”ofinformationoftheoriginalpoem.WeCanfindnosuchmeaningas“beforethethrone”intheoriginalpoem:whichCallbeseenasthe“value-adding”oftheoriginalpoem.Asstatedabove!thespecialinvertedlinesinEightOctavesonAutumnalMusingsaredifficulttOtranslate.DuetOdifferencesbetweenEnglishandChinese,thetranslation.insemantics?syntax,implicationandotheraspectsjusuallycanonlybesimilartOtheoriginallines.Evenb3,doingSO?itasksforhigherrequirementsforthetranslator’Ssubjectivecreatix’ity.Becausethetextreadingisoftenconsideredanindividualbehaviorjthetranslator,beingthereaderoftheoriginalpoem?willproducehisowntranslation:whichissimilartotheoriginalpoem.3.4.3CulturalBlanknessTheconceptofculturalblanknessisputforwardbytheRussiantranslationtheoristI.Q.Sorkin,anditmainlyreferstosomethingrelatedtOthesource—languageculturalinformationthatisincomprehensibleoreasilymisunderstoodbythereadersoftargetlanguage;theculturalblanknessworksasobstaclesagainstthecross-culturalcommunicationsmoothlytosomeextent.Itincludesallkindsoffactorsassociatedwithlanguage,society,customsandconventions,historyandreligions,etc.Becausetheseallusionsandimageshavedistinctcharacteristicsof62 TheTranslator‘SAestheticSubjecti、’ib’ilqtheTranslationofEightOctm,esOnAutumnalMusings‘’。。’’。。’。。。。。。‘’‘。‘’。‘。。。。。。’。。。。。‘。‘’‘。__·。。。。。。_____··_‘_‘_________·-_—____-·__________·-__-_______-____··___--____一-____________--________二_---_.____-__一Chineseculture?thosethingsalwa37SbecometheculturalblanknessintranslationandprovideaspacewherethetranslatorCanexerthissubjectix,ivy.Thetranslatorwilldrawsupportfromsomestrategiesandskillstocompensatethisculturalblanknessasmuchaspossibleandsuccessfullyconvey,theculturalinformationtoreadersofthetargetlanguage.3.4.3.1Allusionline“匡衡抗疏功名薄,刘向传经心事违”isanallusionabouttwopeopleinHanDynasty.“匡衡”isanexpertofConfucianclassicsinHanD3,nasty.“抗疏”referstOsubmitawrittenstatementtoahigherauthorityKuangHengsubmittedawrittenstatementtotheroyalcourt.Theimperialcourtgavehimpromotionforhisgoodopinions.DuFuthoughtthatKuangHengWasputinanimportantpositionbytheimperialcourtbecausehesubminedawrittenstatement.“刘向”isalsoawell-knownscholarofHartDynastyand“传经”referstoimpartclassics.Hethorough])7masteredtheFiveClassics,andhewasaknowledgeprofoundscholar.HereDuFuusedthetwoallusionstOrevealhisunfortunateconditions.HerethetwoallusionsforrnacontrasttODuFu:SunfortunateconditionsAlthoughhe“抗疏”likeKuangHeng.hedidn?treceivethesimilarsupportasKuangHeng.Hisadviceswerenotneglectedbytheimperialcourt:andwhatjSworse,hewasalienatedbythecourt?sohewrote“功名薄”.Atfirst,DuFuwouldliketoimparttheConfucianclassicslikeLiuXiang,buthedidnjtrealizethedesire.SOhewrote~巴、事违”.followingareseveraltranslationversionsofthisverse:Version1:LikeKuangHeng:I'vesaidsomethingtotheKing,yetwoeisme,LiuXiangWaslearnedinClassics,andICanjtbe.Version2:一translatedbvWUJuntaoAdisdainedK:uangHeng,asacriticofpolicy:63 四川师范大学硕士学位论文Aspromoteroflearning:aLiuHsiangwhofailed.·_____——translatedbyGrahamInthetranslationofWuJuntao,thetranslatorusedtheword“I’’andcomoaredthepoethimselfwith“KuangHeng’:and“LiuXiang”.Therefore,thereaderCanunderstandtheirrelationshipamongthemselves.However:whoareexactly“KuangHeng”and“LiuXiang”?“KuangHeng’:and“LiuXiang?:arespecialpersonsinChineseculture!SOtherealconnotationsⅥ,illbecomeculturalblanknessforthereadersthatdon:tunderstandChineseculture.Itrequiresthetranslatortosupplementtheinformationintranslation.Iftheequivalentwordsofimagesinthetargetculturecannotbefound,thetranslatorsusuallyaddannotationsaSsupplementingstrategies.InthetranslationofWuJuntao:wecanfindtheannotationsofthesetwoallusions:KuangHeng(匡衡):anofficialoftheHanDynasty.sentamemorandumtoEmperorYuan(元帝)andwaspromotedforhisgoodopinion.InA.D.757:DufusenttOEmperorSuzongamemorandum’indefenseofthedischargedPrimeMinisterFangKuan:buthewasdecreasedandnearlypunishedsincetheEmperorthoughtitoffendedhim.LiuXiang(文0向)wasascholaroftheHanDynasty.EmperorXuan(宣帝)hadappointedhimtocollatetheFiveClassics(《五经》).(吴钧陶261)DuFuheresighedthathehadnosuchopportunities.Here.thetranslatormadeannotationsabouttheallusionattachedtohistranslation.Therefore,theculturalblanknessintheoriginalpoemwassupplemented.Inaddition,readersofthetranslatedtextcanunderstandthederivationoftheallusionandtheintentionsofthepoetThegeneralmeaningofGraham?Stranslationversionis:Asapoliticalcritics,KuangHengisdiscarded,:andasalearnedscholar,LiuXiangfailed.IntranslationofGraham,thetranslatorcomparesthepoetas“adisdainedK’uang —TheTrans—lator'sAestheticSubjectivit?’intheTranslationofEigh,OctavesOn4utumna]MusingsHeng?。and“aLiuHsiangwhofailed”.HerethetranslatorchosetOkeeptheculturalblanknessinthetranslationandforthereadersinlJargetculture矾’hoarenotfamiliarwithChineseculture。ithasbecomedi施culttOunderstand.LetjStakeanotherexampleof“西望瑶池降王母,东来紫气满函关”foranal)7sis.Inthisverse.thepoetusedtheallusion“王母”tOrefertotwofigures:EmperorXuanzongandYangYuhuan.ThepoetrecalledEmperorXuanzongspoiltYangYuhuaninChanganinthepastandtk:eywenttOpursuepleasureinHuaqingPoolinLishan?whichwaslikeafeastinthelegendaryYao—lake.Theallusion“紫气满函关“isoriginallyalegendaboutLaozi.thefounderofDaoism.Accordingtothelegend:Ⅵ,henLaozi’wasgoingtOpassHanguPass?thegatekeeperGuanLingyinsawasheetofpurplefloatingcloudsfarawayandsaidthatasaintmustbecoming;laterLaozicamefromtheeastbyridingablackOX.Todaywhenwesay“紫气东来”.itrepresentsluckandhereitpraisestheprosperityofthecountryatthattime.What’Smore,italsoimpliesthesatireaboutthehistoricalfactthatEmperorXuanzongsoughttOcravecomfortandpleasureandhisbeliefinwhattheDaoistpriestsaid.Therefore:wecanseethatthisliteraryquotationisbothalegendandasatire.Then?howdoesthetranslatorexerthisorherindividualsubjectix,its'andconveythedeepmeaningsinthemtothereadersoftranslatedtext?Let!Shavealookatthetranslationofthisverse:Version1:Onemaydescry.theGrandmotherdescendingherFairyPond:AndLaozipassingHangguPasswithpurplemistarc-undVersion2:··---——translatedbyWuJuntaoSeeinthewestonJasperLaketheQueenMotherdescend:ApproachingfromtheeastthepurplehazefillstheHan-kupass.——translatedbyGrahamAswecansee,inthetranslationofWuJuntao,thewords“the65 四川师范大学硕士学位论文grandmother”:“FairyPond”,“HangguPass‘‘and“purplemist’’respectivelyreproducedtheimages“王母”,“瑶池”,“函关一and“紫气”oftheoriginalpoem.Inaddition.thetranslatoraddedtheimage“Laozi”.whichcannotbefoundintheoriginalpoem.Therefore!histranslationisnotinconsistentwiththeoriginalwordorderbasedontheoriginalmeanings.Theallusion“东来紫气满函关”isactuallyrelatedwithLaozi.SOitisanactualrepresentationoftheculturalimageintheoriginalpoem.Herethetranslator’Ssubjectivityismanifested.Weknowthattherearedifferencesintheaestheticexpectationfromthereadersofdifferentcultures.ItiSdifficultforthetranslatortoachievetheconsistencywiththeoriginalwordorderandobtainthesameaestheticsensethatexistsintheoriginal.Takethetranslationofthisallusionforinstance,duetodifferentculturalbackgroundsanddifferentunderstandingsofChineseculture,differenttranslatorscarlgetdifferentaestheticsensesfromtheimages“王母”,池”!“函关”and“紫气”.Inordertomakethereadersofthetranslatedtextunderstandtheculturalconnotationsoftheseimages,thetranslatorhereactivelyexertedhissubjectivitybyaddingtheannotationsas:TheGrandmother(王母)isaGoddessinlegendarytales.Shelivesinfarwest.Laozi(老子,6047B.C.一?)wasanancientphilosopher.ItWaSsaidthatwhenhecamefromtheeaSttotheHanguPasstherecouldbeseenapurplemistwithhim.IntheselinesDuFumeantthatSOmagnificentwasthePenglaiPalace(蓬莱宫)thatfromthereonecouldseethingsfaraway.(吴钧陶265)Therefore,readersofthetranslatedtextCanunderstandthederivationoftheallusionandtheintentionsofthepoet.AndtheculturalblanknessintheoriginalpoemWassupplemented.Thus!readersofthetranslatedtextCanachieveamorecompleteaestheticsense.InthetranslationversionofGraham.wecanseethat“theQueenMother’:isequivalentto“王母”,while“JasperLake”to“瑶池”,“theHan.kupass’jto“函关”,and“thepurplehaze”to“紫气”.Thosevariousimagesintheoriginallines TheTranslator‘SAestheticSubjectix’心intheTranslationofEightOctm,esOnAutumnalMusingscallbereservedinthetranslation.Inordertoconsidertheaestheticexpectationofthereaderintranslatedtextandtomakethemunderstandtherea】connotationsoftheallusions:Grahamasalsomadeannotationshere:theWesternQueenMother(His-·wang··mu)whobanquetedKingMu(1000—947B.C.)atJasperLakeinhercountry,,fartothewest!anincidentwhichthepoetfuseswithherlaterdescentfromtheskytoteachtheartsofimmorality.toWuofHamthephilosopherLao--tzucomingthroughthepassesprecededbyapurplecloudonhisfinaljourneytothewest.(Graham56)“ThedifferencesoftheEnglish·Chineselanguagestructuredecidethatthetranslationactivityisactuallyrewriting”(蒙兴灿60).Intranslatingprocess.thetranslatorworksasavehiclebetweentheallusionsoftheoriginaltextandthetranslatedtext.Sotheactofpresentingtheoriginalallusionsinanotherlanguageactuallyisakindofrewritingtheallusions.Therewritingpro:essisaprocessofcreation.IntheperspectiveofthetranslatorjthetranslatorstartsfromhisorherOⅥ,TIintentionofcreation,hechoosestheculturalinformationintheoriginalallusionsjandthenrewmiteswhathechoosesintothenewrly—borntranslatedtext.Intranslationoftheoriginalallusion,thesetwotranslatorshavemadedifferentchoicesinselectingtheculturalinformationfromtheoriginalallusions.Andthe3,alsohavemadedifferentrewa-itingsoftheconnotationsofthewordsofimageandtheallusions.Onthisstage,thesubjectivityofthetranslatorisfullymanifested3.4.3.2MoreExamplesofCulture—loadedWordsIn£喀htOctavesonAutumnalMusingsjsomewordsarenotallusions,buttheyalsohaveclearculturalcharacteristics.BecausetheyareuniquetoChineseculture,thesewordsthemselvesareloadedwithuniqueculturalconnotations.OneCanhardlyfindthecompleteequivalentsinthecultureofthetargetlanguage.Thiscreatesculturalblanknesswhichrequiresthetranslatortoexerthissubjectivity.Inthefollowing,thethesisoffersallanalysisonsuchculture—loadedwordsinEight67 四川师范大学硕士学位论文Octaveson.4utumnalMusings.First:wetakealookat“直北关山金鼓振,征西车马羽书迟”.Here.“直北”means“duenorth”.while“金鼓一referstodrumsusedinwars.ThewardrumswereheardonGuanMount?fortheUighurwereinvadinginthenorthpasses.Intheline“征西车马羽书迟”describesthewarinthewest.“羽书”meansletters啊thfeatherwhichshouldbedeliveredquickly.Somescholarsinterpreted“迟”as“驰”.meaningrunveryquickly.ThefrontlineliesinthewestofChang’an.Aswarswereongoing:letter·deliveryridersconstantlyrodebetweenthefrontlineandChang:aninarush.Here.“金鼓”and“羽书”areuniquetoChinesecultureHowdoesthetranslatortomakethetargetreaderstounderstandalltheseculture—loadedwords?Threetranslationversionsareofferedinthefollowing:Version1:Duenorthonthemountainpassesthegongsanddrumsshake,Tothechariotsandhorsescarnpaignjnginthewestthewingeddispatcheshasten.Version2:Throughthenorthernpasses......——translatedbyGrahamComestheclashofgongs?thebeatOfwardrums;straightwestareHorses,chariotsanddispatchriders;Version3:·_____——translatedbyRewiAlleyRightnorthfrompassesofmounts,reportsoffightsdin,Themessagesofwestwardcampaignsinfightsdoflee.——translatedb37SunDayu“金鼓’’willbe‘‘goldendrums”inliteraltranslation.However.aswecansee,noneoftheabovethreetranslatorsadoptedthisliteraltranslation.Instead, TheTranslator‘SAestheticSubjectix,ibintheTranslationofEightOctavesOnAutumnalMusinjes—theyadopteddifferenttranslationmethodstofilltheculturalblankness,Grahamtranslated“金鼓一as“thegongsanddrums”:whichactuallyequalsto“弓和鼓一inChinese.Theword“drums”correspondsto嚏支::oftheoriginalpoem.while“gongs—canbeconsideredasawordadded,andthisshawsthetranslator‘Ssubjectivity..AsisknoⅥaatoChinese:gonganddrumareapparatusinwarsofancientChina.Therefore,thetranslation‘'thegongsanddrumsshake’‘indeedsucceedsinconveyingtheculturalconnotationof“战事不断”loadedby“金鼓振”.Accordingly,thetranslator:Sadding,soundsreasonable.InRewiAlley‘Stranslation,the“鼓”oftheoriginalpoemwaspresentedas“gongs。:and“drums”.Furthermore.thetranslatorused“clash:’and“beat、’forthemeaningof“振”.Tosomedegree.translationandcreationarethesame.Theirproductsareofferedtoreaders.Therefore?thereader,.;jreceptionmodesmayaffectthetranslator:Sselectionofexpressionway,s.Underthetwoculturals>7stems?readersareboundtohavedifferentreceptionmodes.Thisoffersspacefortranslator?Srecreation.translation“Throughthenorthernpassescomestheclashofgongs,thebeatofwardrums‘jalsodisplaysthetranslator‘Ssubjectivit5,.Itnotonlyconveysthemeaning“金鼓振”.butalsothemeaningof“thegongsclash一.Sothetranslationoffersamoredetailedinterpretationoftheculturalconnotationof“金鼓”.Theword“War—intranslationhelpsreaderstobetterunderstandtheculturalconnotation.Thereforejthereaders’receptionmodesaretakenintoconsiderationinthetranslation.Then,let:Sanalyzethetranslationof“羽书”bythefirsttwotranslators.As“羽书”referstoletterswithfeatherwhichshouldbedeliveredquickly,SOthe“羽”hererefersto“feather”.Graham’Stranslationfor“羽书”is“thewingeddispatches”jmeaning“插了翅膀的快信”,whichisnotconsistentwiththeoriginalmeaning.Bycomparison,inRewiAlley’Stranslation,theimageof“羽书”cannotbefound.Thetranslatoradoptedthemethodofliberaltranslation.translation“dispatchriders”referstothemenwhodeliver“羽书”.Thetwo69 四川师范大学硕士学位论文translatorstranslatedtheimageoftheoriginalpoemindifferentways,for“dif.ferentreadersandtranslatorscouldhavedif诧rentaestheticassociationsbecauseoftheirdifferentfeelingsandexperience.anddifferentculturalimages”(刘军平57).Oneimagemayhaveacorrespondingobjectinanotherculture,butthereishardlyacompleteequivalent.Astheseculturalfactorsgreatlylimittheexertionoftranslator‘Ssubjectivity:SOtheaestheticeffectproducedintranslationcanonlybesimilartotheoriginal.InSunDayu:Stranslation.“金鼓”istranslatedasneither“gongs”nor“drums~.“金鼓振”appearsas“reportsoffightsdin”.whichcanbeunderstandas“warreportsbeingconstantlyondelivery.”.Here.theculturalconnotationof“金鼓”iSdisplayed.Besides.itshouldbenotedthatthetranslatoraddedsomethinglikeThebeatingofdrums(击鼓)andtheclangingofgongs(鸣金)wereordersofonwardattackingandbackwardretreatinginthearmy,meaningthatwarfarewasrife.‘Themessagesofwestwardcampaignsjwithbirds:tailplumesstuckinthemmeansthereportisurgentforsuppressingtherebelliousforces,andrepellingthepenetrationofTubFan(吐蕃)hordes.(孙大雨59)Theannotationsherefurtherconveyedtheculturalconnotationof“金鼓”andThesethreedifferenttranslationversionsbythethreetranslatorshavebeenmarkedbythetranslators?subjectivitybecauseoftheirlanguageandculturaldifferences,differencesofaestheticexpectations,aswellasthedifferencesinaestheticpsychologyofdifferenttranslators.Thenlet’Slookat“关塞极天惟鸟道,江湖满地一渔翁”.Itdescribesthesituationofthepoet.HeisintheThreeGorgeswheretherearehighmountains.ThepoetdreamedtocomebacktoChang’anbuthefailedfortherewerenoroadsoutandonlybirdsCanflyover.Hefeltlikeafishermandriftingontheboundlessriver.Threetranslationversionsareofferedinthefollowing:70 TheTranslator’SAestheticSubjectivi℃intheTranslationofEightOctavesOn4utumnalMusingsVersion1:Birdsalonecanpasstheskyeymountainpasseshere,:I'mlikeafishersincedeepwatersaree!e叩vhereVersion2:——translatedbyWuJuntaocliffpassSOprecipitousisbutbirds?path;Afishermanloneandlorn.Ihavewanderedfar.Version3:·----——translatedbySunDayuOverthepassjallthewaytothesky;aroadfornonebutthebirdsOnriverand1akes.totheendsoftheearth.oneoldfisherman.translatedbyGrahamHereboth“江湖”and“渔翁”areloaded谢thaculturalconnotation.Wecarlunderstand“江湖”intwoways.Literallyitreferstorivers,lakesandseas.Ontheotherhand,it'sametaphorforthepoet?Ssituation.Then,“江湖满地”meansthelonel3’andwanderingsituationofthepoet.“渔翁”isacomm3nculturalimageinClassicalChinesepoeu-y,whichisoftenusedbythepoettoexpressafeelingofloneliness。However,“江湖”and”渔翁”donothavesuchculruralconnotationinEnglishculture.Therefore,thesearetheculturalblankness.GrahamandWuJuntaorespectivelytranslated“江湖”as“riverandlakes”and“deep’一'aters”.Theformerisaliteraltranslationjwhilethelatterissimilartotheoriginal:meaning.SunDayuadoptedadifferenttranslationmethod:comparedwiththosetwotranslators.Inhistranslation,“wandered”means“towalkslowlyaroundortoaplace,oftenwithoutanyparticularsenseofpurposeordirection”.correspondingtotheChinese“漫游,游荡,流浪,漂泊一.So!thetranslation“Ihavewanderedfar”conveystheculturalconnotationof“诗人漂泊无依”loadedby“江湖满地”.Fu】-thermore,fortheword“渔翁”,WuJuntao’Stranslationis“afisher”?whichcontainsnoculturalconnotationforthetargetreaders.Aswecarlsee,bothGrahamandSunDayuusedtheword“fisherman”intheirtranslation.Inaddition,theyallusedadjectivesto 匹川师范大学硕士学位论文modifythe“fisherman”.Grahamused“old”,meaning“年老的”inChinese.AccordingtotheoriginalpoemjDuFuwasinhisoldageatthattime,andhewasweakandsick.Therefore.Graham‘Stranslation“oneoldfisherman’’soundsreasonable.SunDayuused“loneandlom”.Eithertheword“lone‘:or“lom??conve3,StheChinesemeaning“孤独的,寂寞的”.Thus.thetranslation“Afishermanloneandlom”reproducedtheculturalimage“渔翁”inamorecompletelyway.Inpoetr>,translation,thetranslatorhastOexerthissubjectivity,attemptingtOaddadjectivesbeforeorafterthenounsinordertokeeptheoriginalconnotationsofimages.DuetOtranslators:subjectiveparticipation,differenttranslatorstendtodealwiththepoetrytranslationindifferentways3.4.4TheInfusionofT】ranslator’sEmotionTheancientpeopleusedpoemstOexpresstheiremotions.Sothepoet’SemotionsCanbefoundamongthelinesinpoems.Thetranslatoristheaestheticsubjectoftheoriginalpoem.Wheninterpretingtheoriginalwork,hewillfirstuseaestheticperceptionandthengrasptheimagereflectedbythework.Meanwhile,hewillinfuseasincereanddeepemotionintotheworkwhenreadingeven'wordoftheoriginalworkjandappreciatethethoughtsandpleasurebetweenthelines.Hewillcarefullyappreciatethe“o、,ertones::or“impliedmeaning”.andhaveaprofoundempathyexperiencewiththeauthor.Therefore,heCanachieveaprofoundlifeexperienceandinsightsoflife.Basedontheseaspects,thetranslatorthenCanmaximizeexpressingmeansandresourcesofthetargetlanguageinordertorecreatetheartisticconceptionhefeltintheoriginalwork.Inthefollowing,sometranslationexamplesareofferedjthroughwhichtheauthorwillanalyzehowthetranslatorreproducestheoriginalemotionsbyexertinghissubjectivity.Thefirstanalysiswillbeonthetranslationof“信宿渔人还泛泛,清秋燕子故飞飞”.Herearethreeversions:72Version1:Thoughanothernightiswastingfishersarestillonfloat, TheTranslator‘sAestheticSubjectivib’intheTranslationofEightOctavesonAutumnalMusingsThou曲autumncomestheswallowsflitstilltoandfroVersion2....——translatedbyWUJuntaoTwonightsgonethefisher—boatsoncemorecoraebobbingontheWaVeS.Belatedswallou,SincoolingautumnstillflittoandfroVersion3:一translatedb、,GrahamWKlenightafternightthefishingboatsfloatalong:Toandfroautumnswatlowsflitaboutinthescene....——translatedbySunDayu“信宿渔人还泛泛”describesthescenethatTuFuwatchedthefishermenfishingontheri、,erfortWOsuccessivenights.The“清秋燕子故飞飞”meansthatswallowswerestillflittingabouto、,ertheriverinlateautumn.Here.specialattentionshouldbegix,entotheword“还”and“故”.BothofthesetWOwordshavethemeaningof“still“:makingthereadersfeel1hatthepoetseemstobesickofthesceneryjforthepoetthenwastrulyworriedanddepressedThough“还”and“故”arefunctionalwords.theyreflectthepoet’Semotionsaswell.Fromthetoneofthetwowordswecanfeelthe10nenessofTuFuforwanderingever?whereandhissadnessfornotbeingabletogobacktoChangjan.literaltranslationof“还”and“故”willbe“still”.Aswecansee.WuJuntaoadoptedthismethod.Thus,“还”and“故”aretranslatedas“still一:“渔人还泛泛”istranslatedas“fishersarestillonfloat”,and“燕子故飞飞”istranslatedas“theswallowsflitstilltoandfro”.In.addition?itshouldalsobenotedthatthetranslatorused“though”似rice.meaning“虽然,尽管”inChinese.Howeverjtheword“thou曲”hasnoequivalenceintheoriginalline.’Fherefore:itcanbeconsideredtobeaddedsubjectivelybythetranslator.Usingtheword“though’‘makesthetranslationsoundlogical,whichfitsthehabitofthe:targetlanguage.Atthesametime?thetargetreaderscarlalsounderstandtheemc-tionsoftheoriginal73 四川师范大学硕士学位论文poemGrahamalsotranslated“故”as“still”.Buthetranslated“还”as“oncemore”.meaning“再,又”inChinese.However.inSunDayu?Stranslation.onecarlnotfindanequivalencetO“还,仍然一.Thus.thetranslationfailstoreproducetheemotionsthatarecontainedin“还”and“故”.Intheprocessoftranslatingtheoriginalpoem?eachtranslatorhashisownunderstandingof“故”and“还”.AndthesetranslatorstendtOhavedifferentempathyexperiencewiththeauthoLthusmakingmaximumuseoftheexpressingmeansandresourcesfromthetargetlanguageforthepurposeofrecreatingtheartisticconception.DifferentunderstandingsusuallyleadstOdifferenttranslation.Anotherexampleis“同学少年多不贱,五陵裘马自轻肥”.ItreferstOsomeoldclassmatesofDuFuwhobecameofficialsandlivingaluxuriouslifeinChang’an.Itshouldbenotedthattheword“自”isquitewellusedhere.foritcontainsthepoet:Semotions.Theword“自”hasfollowingmeanings:thoseclassmateslivetheirownluxuriouslifeandithasnothingtOdowiththepoet;thoseclassmatesonb7careabouttheirownlifeandneverthinkabouttheinterestofthecountryandtheiroldfriends.Therefore.theword“自”indeedcontainsameaningofsarcasmandadmiration.Asubtletoneandemotionisinvolvedinthisword.Canthetranslatorreproducethisemotionintranslation?There’retwotranslationversionsinthefollowing:74Version1:Andmyyoungschoolmatestheyallhavefommeontheirsides;Inlightfurs,onfatsteeds,throughthefiveTombstheyrideVersion2:·--—-——translatedbyWuJuntaoAsmyfellowstudentsofyorewithjoydothrill,Thosefavoredonesallprosperinwealthandfame.·。___——translatedbySunDayuHere,thepoetcomparedhimselftohisoldclassmates:thepoethimself TheTranslator‘SAestheticSubjectivit7.intheTranslationofEightOctal7eson,lutumnalMusingsachievednothinginrankandfamejwhilehisclassmatesare“同学少年多不贱,五陵裘马自轻肥”.Aswecailsee!WuJuntaojStranslation“myyoungschoolmatestheyallhavefortuneontheirsides’’actuallyhasthesamemeaningas“myyoungschoolmatesallhavefommeontheirsides”.Theaddingof’’theyj?reflectsthetranslator:Ssubjectivity.Andtheword“they:‘isalsousedin“Inlightfurs,onfatsteeds,throughthefiveTombsthe)7ride”.Theword“they?:isusedtwicetomakeacomparisonwiththepoet.Furthermore.theword“their?:and“the3,’‘togetherstren甄henthetonesFromthistranslation,thetranslatorattemptedtobringreaderssuchfeelingsas“thepoetisthepoet,whoisdifferentfromthoseclassmate,.;一.Thistranslationdisplaysthetranslator?Ssubjecti'、j7ivforitconve3,Stheemotionthatiscontainedintheword“自”.InSunDayu?Stranslation.italsoexistsacomparisonbetweenthepoetandhisclassmates.DifferentfromWuJuntaojheusedtheword“those”.Theword“those”referstothingsorpeoplewhicharefarfromllS.So“those’jherecreatesadistancebetweenthepoetandhisclassmates:thusreproducingtheemotionintheword“自”.Thisindicatestheeffortsmadebvthetwotranslatorswhoexertedtheiraestheticimagination,aestheticthinkingandotherpsychclogicatmechanismsforthebettertranslation。Ontheonehandj“theyadjusttheirOWTItranslationmethods,whichcouldmaketheiraestheticsensesimilartothe:oneoftheoriginalauthor”(姜秋霞56).Ontheotherhand,“theycomplywiththestructureofthetranslatedtext,makinganaturalandeffectiveconversionthatmeetsthehabitsofthetargetlanguage”(姜秋霞56).Thus.theemotionin“自”isreproducedinthetranslatedtext.Finally,let’Sanalyzethetranslationof“玉露凋伤枫树林■Version1:Dew—droplikejadeseemTocutthemapletrees;Version2:一translatedbyRewiAlley75 ●四川师范大学硕士学位论文Thepearlydewsdepressandwiltthemaplewoods,.Version3一translatedby胁JuntaoGemsofdewwiltandwoundthemapletreesinthewood:·---——translatedbyGrahmnInthisline,thedewsarenotordinarydews,butdewsinpearlywhite;thewoodsarenotordinary.trees.butfire—redincolor.It’ScommoninChinesepoetrytoexpressemotionsthroughdescribingconcreteob]ects.Here,thebrightcolorsofdewsandmaplewoodsareincontrastwiththepoet:Ssadnessoverhislife.Theword“凋伤”furtherstrengthensthisfeelingInthethreetranslationversions.“凋伤”isrespectivelytranslatedas“cut”,“depressandwilt’:and“wiltandwound”.Theword“depress’:isbasicallyexplainedas。'tomakesomeonesadandwithoutenthusiasmorhope”,namely“使抑郁,使沮丧”inChinese.Theword“wound”means“tohurtsomeone’Sfeelings”.namely,“使心灵受伤,伤感情”inChinese.Exceptforthebasicmeaningof“切,割一!theword“cut”carlalsomean‘'tohurtsomeoneemotionally“.namely“(从感情上)伤害”inChinese.Seeingfromabove!allthreetranslatorsusedemotion·loadedwordstOdisplaythepoet:Ssadness.ItshouldalsobenotedthmbothWuJuntaoandGrahmnused“wilt”intheirtranslation.Itmeans“枯萎”inChinese,andtheword“wilt”isequivalenttOtheoriginalmeaning“生命凋伤”.Furthermore.thecombinationof“wilt’’and“depress::aswellasthe“wilt’?and“wound’’havestrengthenedtheconveyingoftheemotion“凋伤”.Here,theword“凋伤”causesthetranslators“in-depthunconsciousreactions”.and“arousesmuchoftheirOWlllogicalandoriginalfeelings,andtouchesoffmuchoftheirownindividualexperienceinfeelings,emotionsandimagination”(滕守尧219).Sothethreetranslatorstendtousedifferentwordsduotodifferentunderstandingsofthelanguageintheoriginalpoem.76 ConclusionWithbeautifullanguage,richimagesanddeepculturalimplications?classicalChinesepoetryisofhighvalueforaestheticresearchpurposes.Thetranslator:Saestheticsubjectivit?"iswell.displayedinthetranslationofclassicalChinesepoetr?'Firstofall:thelanguageandculturaldifferencesbetweenEnglishandChineseoftencauseblankness:spotsofindeterminacy,which:specifically,arereflectedinwords’meanings.syntax,etc.Thetranslator’Ssubjectivityisdisplayedwhenhefillsandinterpretstheblanknessandspotsofindeterminacy.DifferenttranslatorstendtOinterpretindifferentways,producingdifferenttranslationversions.Forinstance,theycouldtakedifferenttranslationapproaches,andchoosedifferentwordsandsyntacticstructures.Then,thetranslator!SunderstandingoftheoriginalpoemisnotIimitedinthe1evelofthelanguagecompositionandsyntacticstructure.Rather.theoriginalpoemistakenasanorganicandintegratedentirety.OnlyinthiswaywillitbepossibletObreakthroughthelimitationsoflanguageform,Ⅵhilemaintainingtheoriginalcharmandemotionsinthetargetlanguage.Finally,underthelimitationofthedifferencesbetweenEnglishandChinese,thetranslation,insemantics,syntax,implicationandotheraspects,Canonlybesimilartotheoriginalpoem.Tothesamepoem,differenttranslatorscanofferdifferenttranslationver,;ions.Thiscanalsoprovethattranslationisrelativelypossible,butitisofnoabsolutepossibility.Goodtranslationisonlyregardedasanewproductwhichissimilartotheoriginalwork.Theauthorfindsthattranslator?Ssubjectivityexistsinthewholeprocessoftranslation.Theentiretranslationprocessisaprocessinwhichtheaestheticsubjectjundertheconstraintsoftheaestheticobject,givesfullplaytOhissubjectiveinitiative.Inthisprocessjthetranslatedtextiswellaestheticallyreproduc:ed.InthetranslationofclassicalChinesepoetry.thedifferencesbetweenChinese£皿dEnglishlanguage 四川师范大学硕士学位论文andculture,aswellasthespecialandtemporalvariation,canhinderthesubjectivityroleplayedbytranslatorandcallcausecertaindifficultiesforthetranslatortOcompletehis/hertranslation.InordertOminimizetheimpactoftheobjectivefactorsontranslationandachieveabetteraestheticreproductionintranslation,thetranslatorCanuse、7ariousmethods?suchastraininghisownbilingualskillsofapplicationandexpression:forminghisOV~TItranslationsb'le:integratinghisownemotions:developinghisculturalcompetenceandtranslationskills:etc.78 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AcknowledgementsWhilewritingthisthesis:Igainedmuchhelp?supportandencouragementfromtheuniversiw,theprofessors:myfamilyandfriends.Nov%I'dliketoextendmvsincerethanksto/hema11I‘dliketogivethankstotheSchoolofForeignLanguages,SichuanNormalUniversiB7."Mnen1wasagraduatestudentintheschool,theprofessorstaughtmecoursesrelatedtotranslationtheories,whichgreatlycontributetothetheoreticalknowledgeforthecompositionofmythesis.Besides,theschoolworkshardandkeepssuper、,isingandcheckingthedetailedprocessofmythesiscomposition.Ms.HuanTingting,theteacherwhojSinchargeofstudents‘acaderaicaffairs,playsallimportantrole.MyspecialthankswillgotoProfessorYangTianqingwhoismysuper',,isorHedide、,erythinghecouldtohelpmeadvanceinmygraduatesmdies.Hetaughtmehowtocomposeessays.ThewritingskillsIlearntfromhimarc_ofgreathelptomygaduationthesiswriting.Hissuggestionsandacademicguidancewillbemuchappreciated.Iownadebtofgratitudetohisgreatefforts.Atthesametime,I'dliketothankmyfamilyandfriendsfortheirsupportandencouragementalltheway.Specifically,IownthankstoHeHuizhen,GuoJingwoandWangMiaomiaoandothersfortheirassistancetocollectmaterialsandmuchsoundadviceWithoutthesepeople:Shelp,supportandencouragement,1won’tbeabletofinishthisthesis.Thanksagain183

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