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A Study of Aesthetic Representation Means in Literary Translation

Author: ZhangLi
Tutor: YuanBinYe
School: Guangxi Normal University
Course: English Language and Literature
Keywords: Literary translation aesthetic representation means imitation rewriting
CLC: H315.9
Type: Master's thesis
Year: 2009
Downloads: 69
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Abstract


The uniqueness of literary translation lies in displaying the aesthetic effects to people, with the aim to fulfill the aesthetic representation of a literary work. Aesthetic representation is the final step, in which the translator represents all his aesthetic achievements into the target text by applying certain aesthetic representation means. Imitation is the fundamental means of aesthetic representation in translation, and rewriting in its positive aspect is a feasible means of translation aesthetic representation which will fully embody the translator’s aesthetic ideal and put into practice the translator’s aesthetic attitude.This dissertation adopts the methodology of comparative study combined with theoretical study and probes into the historical origins of imitation and rewriting as the aesthetic representation means, the application of aesthetic representation means in literary translation, and their relationship with the translator’s aesthetic experience. Besides, the dissertation also makes a tentative study on the categories of imitation and rewriting. For example, there are three categories of imitation, i.e. SL-oriented imitation, TL-oriented imitation, and dynamic imitation; rewriting can be classified as note-taking, addition, omission, alteration, and abridgement etc. On that basis, this dissertation conducts a comparative study of the different Chinese versions of The Picture of Dorian Gary by Rong Rude and Huang Yuanshen, to discuss how these aesthetic representation means are embodied in literary translation and how the translators apply different aesthetic representation means to convey the original beauty and represent the aesthetic value of the original works.Through the detailed analysis of aesthetic representation means in different Chinese versions, this dissertation finally comes to the conclusion:Imitation and rewriting, as two means of aesthetic representation, are feasible in literary translation, through which the aesthetic constituents of the original works are retained and the aesthetic value of the original is represented, and provide a workable model for translators in their aesthetic translation. However, the translator must bear in mind that aesthetic representation means are not fixed or mechanical in practice. He must, based on his understanding of the original aesthetic information and his subjective initiative, be not constrained by the form of the original works, but bring into full play the advantages of the target language and all positive aesthetic factors by applying aesthetic representation means of various kinds, to represent the aesthetic constituents of the original works to the maximum into target text.Five chapters are included in this dissertation: Chapter 1 serves as a brief introduction to the whole dissertation, including research issues,research methodology,the significance of the research and the structure of the dissertation. Chapter 2 is devoted to literature review on previous studies and achievements in Translation Aesthetics and Translation Aesthetic representation. Chapters 3 makes a systematic study on the aesthetic representation means of imitation and rewriting and analyzes the historical origins and the application of imitation and rewriting in literary translation, which provides a theoretical basis for the comparative study of the two Chinese versions in the next chapter. Chapter 4 is the comparative study of the two Chinese versions of The Picture of Dorian Gray, in which analysis is made to discuss how the translators flexibly apply different means of aesthetic representation to convey the original beauty. To be specific, it is to make a comparative study on the application of aesthetic representation means of imitation and rewriting by different translators and how these aesthetic representation means are embodied in the two Chinese versions, and to analyze if the translators can represent the original beauty by applying these aesthetic representation means. Chapter 5 serves as a conclusion of this dissertation, including the summary and limitations.

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CLC: > Language, writing > FOREIGN > English > Translation
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