畢業(yè)論文：Aesthetic Representation in the Translation of Classical Chinese Poems

Aesthetic Representation in the Translation of Classical Chinese Poems in A Dream of Red Mansions with Reference to Figures of Speech


CONTENTS
Abstract………………………………………………………………….3

1. Introduction…….……………………………………...…………....4

2. A General Rresearch of Translation Aesthetics…..................5

2.1A brief introduction to translation aesthetics…..……….…….5

2.2The nature of tanslation aesthetics………………..…….…....7

2.3Aesthetic representation …………………………………........7

2.3.1Aesthetic comprehension……………………………….……….........8
2.3.2Aesthetic transformation………………………….…..………..….…..8
2.3.3Aesthetic improvement………………………………..….………...….9
2.3.4Aesthetic representation……………………………..………....…......9

3. Yang Hsien-yi and Gladys Yang And Their Views on Translation……………………………………………………......10

4. Aesthetic Representation of Chinese Classical Poems in A Dream of Red Mansions………………………...……………….12

4.1 Beauty of sound………………………………...……………...12

4.2 Beauty of le*is………………………………..…..…….....…...17

4.3 Beauty of synta*……………………..………..…….……..…..21

5. Conclusion……………………………………………………….....23

References.………………………………………………………........25



Aesthetic Representation in the Translation of Classical Chinese Poems in A Dream of Red Mansions with Reference to Figures of Speech

Abstract
Profusion of classical Chinese poems in A Dre
……（新文秘網(wǎng)http://m.jey722.cn省略2134字，正式會員可完整閱讀）……　
in Yang Hsien-yi and Gladys Yang’s translation of the poems in A Dream of Red Mansions from translation aesthetics.
A Dream of Red Mansions (translated by Yang Hsien-yi and Gladys Yang), also named The Story of the Stone (translated by David Hawks and John Minford), was composed during Qing Dynasty. The first 80 chapters were written by Cao *ueqin. The latter 40 additional chapters were composed by Gao E. It is the peak of classic works in China, since it not only unrolls a panorama of the feudal society, but also describes the five thousand years’ incorporated Chinese cultural heritages vividly. Yang Hsien-yi and his wife Gladys Yang, a British translator, translated it into English. As for Yang Hsien-yi, he is a Chinese translator who is famous for translating many ancient and a few modern Chinese classics into English. Their translation of A Dream of Red Mansions, including many poems, is one of the most accepted versions. It is worthwhile to do further research due to the fact that they shed light on the translation of Chinese poems.
The paper intends to make a preliminary study of the poems in A Dream of Red Mansions based on Professor Liu Miqing’s translation theory. The author hopes to provide some fresh points to theoretical study and practical work of the translation of Chinese poems.
The thesis contains three main chapters．There is an overall introduction to the paper in the beginning. It describes the background, importance and the frame of the thesis. The first chapter mainly centers on the development of Chinese aesthetic translation theory. In the second chapter, some basic information about Yang Hsien-yi and Gladys Yang and their translation views are introduced. Chapter three is the major part of the thesis. In this chapter, a detailed analysis about figures of speech of the formal aesthetic values is presented, which involves the beauty of sound, of le*is and of synta* in A Dream of Red Mansions. Finally, the author will make a conclusion of this whole thesis.
2. A General Research of Translation Aesthetics
2.1 A brief introduction to translation aesthetics
Translation aesthetics mainly applies aesthetic theories to the studies of translation. Multidisciplinary research is involved. The main purpose is to analyze the aesthetic principles to guide translation practice and evaluate literary translation. According to The New Development on Chinese Translation Aesthetics Research New Development (Zeng Wen*iong,2006:209), although aesthetic ideas in the west have a long history, the history of aesthetics as an independent subject has only covered two hundred years. In 1750, the terminology “aesthetics” was creatively used for the first time by Ale*ander Gottlieb Baumgarten in his aesthetic book. This event is a epoch-making contribution in the history of western aesthetics．As for China, the Chinese did not regard aesthetics as an independent subject until modem times. Therefore, Chinese aesthetics can be regarded as a variety or further development of western aesthetics to a certain degree. Chinese aesthetic theory is developing with many scholars having been making their great contribution to it. These masters include Fu Zhong*uan, Mao Ronggui, Liu Miqing.
Fu Zhong*uan’s Practical Translation Aesthetics (實用翻譯美學(xué),1993) is considered to be the first independent and complete monograph on translation aesthetic. It marks a key development of translation aesthetics in China. Mao Ronggui’s Translation Aesthetics (翻譯美學(xué),2005) sums up the development of Chinese translation aesthetics. The book discusses aesthetics both in English-Chinese translation and Chinese-English translation in four aspects, namely the aspect of the translator, the aspect of linguistic characteristics of Chinese and English, the aspect of inter-language transformation and the aspect of translation practice. An Introduction to Translation Aesthetics (2005) by Liu Miqing is another important monograph in the research of translation aesthetics in China. Considering the basic principle of modem aesthetics, the book mainly introduces the theory of the aesthetic object and subject of translation, subjective initiative of translators, psychological structure of translation and aesthetic representation.
2.2 The nature of translation aesthetics
In Chinese translation field, the function of language and aesthetic judgments are closely related to each other. The languages involved in translation are called the source language and the target language respectively. Narrowly speaking, translation refers to the transmission of information from one language to the other. The nature of ……（未完，全文共33318字，當(dāng)前僅顯示5992字，請閱讀下面提示信息。收藏《畢業(yè)論文：Aesthetic Representation in the Translation of Classical Chinese Poems》）