从翻译美学角度看李清照英译意境美传递英语毕业论文.doc

Student ID：201191210619

BACHELOR'S DEGREE THESIS OF ZHIXING COLLEGE OF NWNU

Translation of Artistic Conception Beauty in Translation of Li Qingzhao's Lyric poems from the Perspective of Translation Aesthetics

Dept of ：Foreign Languages & Literature Department
Subject ：English
Name : Wang Juanjuan
Directed by ： Ning Zhenye Associate Professor

November 2014

学号：201191210619

西北师范大学知行学院
本科学生毕业论文（设计）

从翻译美学角度看李清照英译意境美传递

ABSTRACT
Li Qingzhao as the representative of Wanyue school, is not only the most outstanding poetess in lyric poems' creation field, but also one of the most outstanding poets in the history of poetess. Meanwhile, the translation study on Li Qingzhao’s lyric poems also has attracted the attention and devotion of many scholars both home and abroad. Li Qingzhao’s lyric poems give the readers endless imaginary space especially by beautiful artistic conception with strong feelings, clear and vivid images, and lingering charm.
Translation aesthetics is the combination of translation, which occupies an important position in the field of translation theories. On the basis of concluding and explaining translation aesthetic theory, the thesis classifies the artistic conception beauty of Li Qingzhao's lyric poems into three major kinds: blend of feelings and scenery, coexistence of fiction and reality, and lingering charm. Then the author chooses representative lyric poems by Li Qingzhao of each kind from ample lyric poems of Li Qingzhao and their different English versions respectively as examples to analyze the artistic conception beauty transfer comparatively in accordance with the translation aesthetic theory, especially the five basic requirements for aesthetic reproduction by Liu Miqing.
Key words: translation aesthetics; Li Qingzhao's lyric poems; English version; transfer of artistic conception beauty; analysis

摘要
作为婉约学派的代表，李清照不仅在抒情诗的创作领域是最优秀的女诗人，而且在女诗人的历史上是最出色的女诗人之一。同时，关于李清照的抒情诗歌的翻译研究也已经引起了许多国内外学者的关注。李清照的抒情诗给读者的不仅是美丽的意境无穷的想象空间，还有强烈的感情，清晰生动的意境和韵味十足。
翻译美学是翻译与美学的结合，并在翻译理论中占有重要位置，在总结和解释翻译美学理论的基础上，本文将李清照的抒情诗的意境之美分为三大类：情景结合，虚实并存，和韵味十足。然后，选择其有代表性的诗，分别按照翻译美学翻译的不同的英文版本为例进行比较分析其意境美的传递，尤其是根据刘宓庆的五项基本要求。
关键词：翻译美学;李清照的抒情诗;英文版本;转让意境之美;分析

Contents
ABSTRACT I
摘要 II
1. Introduction 1
2. Studies on Artistic Conception Beauty Transfer 2
3. Theoretical Basis of the research 3
3.1 The source of aesthetics 4
3.2 Factors Affecting the Transfer of Artistic Conception 5
3.2.1 Aesthetic Subject: the Translator's Aesthetic and Reproductive Ability 5
3.2.2 Aesthetic Object: the Linguistic and Cultural Differences 6
4.Analysis of Artistic Conception Transfer of Li Qingzhao's Ci Poems from Translation Aesthetics Perspective 7
4.1 Artistic Conception Beauty of Li Qingzhao's lyric poems 8
4.1.1 Blend of Feelings and Scene 8
4.1.2 Coexistence of Fiction and Reality 9
4.1.3 Lingering Charm 10
4.2 Transfer of Artistic Conception in Li Qingzhao's Ci Poems Translation 11
4.2.1 Ru Meng Ling 12
4.2.2 Transfer of Coexistence of Fiction and Reality 14
4.23 Transfer of Lingering Charm 15
References 18
Acknowledgements 20

III

Translation of Artistic Conception Beauty in Translation of Li Qingzhao's Lyric poems from the Perspective of Translation Aesthetics
1. Introduction
Poetry has been regarded as the highest manifestation of a nation's culture and history. As a nation of poetry, China has a particular fondness for poetry, which plays an incomparable role in classical literature. As early as 2500 years ago, Chinese people compiled the earliest anthology of poetry in China, the beautiful Book of Songs (《诗经》) and a thousand years ago they created the great Tang poetry and Song lyric poetry. Confucius says that poetry "可以兴,可以观,可以群,可以怨"(quoted in毛宣国:2003: 15), which means poetry can serve to inspire emotions, to help your self-contemplation, to teach you the art of sociability and to express your resentment". Classical poetry has become the soul of Chinese culture.
Now that it's the age of globalization and the international cultural exchange is increasingly frequent, more and more people have been getting interested in Chinese traditional culture. As a precious cultural heritage of human beings, Chinese classical poetry has been attracting wide attention both at home and abroad and many scholars have devoted themselves to introducing this immortal gem to the world so that the beautiful literary arts like Song Lyric poetry can be shared by all human beings through translation. However, Chinese classical poetry translation has remained a challenging task for scholars and translators since Chinese classical poetry is different from western poetry in many aspects. Difficult as it is poetry translation can still be done to a large extent since poetry is created on the common ground of human feelings.
This thesis is made up of four chapters besides an introduction and a conclusion. Following this general introduction to the thesis, a literature review is provided in chapter two, taking a look at translation aesthetic as well as studies on aesthetic conception beauty translation. Chapter three is devoted to the theoretical basis of the thesis where the components of the source of aesthetics, the makeup of aesthetic object and aesthetic criteria of poetry translation are addressed. In chapter four, analysis of artistic conception translation of Li QingZhao’s lyric poems from translation aesthetic perspective. The last chapter is a conclusion, summarizing the whole thesis.
Literature Review: For the thesis’s title is Transfer of Artistic Conception Beauty in Translation of Li Qingzhao 's lyric Poems from the Perspective of Translation Aesthetics, which is related to three major fields: the translation aesthetics, the artistic conception, and the translation of Li Qingzhao’s lyric poems, the literature review will introduce former related studies on these three subjects respectively. Then, on the basis of the review of former studies, the creative points of this thesis and its research necessity will be pointed out.
2. Studies on Artistic Conception Beauty Transfer
Translation aesthetics aims to explore the aesthetic problems of inter-lingual transformation by means of the basic principles of aesthetics, linguistics, and intercultural studies. (Liu Miqing, 1999: 108) Exploring, explaining and practicing literature translation from the perspective of aesthetics has a history of more than one thousand years both domestic and abroad.
According to the research on translational history, the seed of western translational theory firstly relied on philosophy-aesthetics to grow. Mao Ronggui, 2005: 97) From all the advocacies like the ‘beauty of rhetoric' advocated by the famous Roman philosopher Cicero for the literary translation to later translator Jerome's 'natural beauty, translation theorist Tytler's 'beauty of faithfulness, and Gachechiladze's 'artistic beauty,(Munday, 2010: 167),it be found that the aesthetic thought has been contained in translation theories for a long time. During the twenty years after 1990s,in western countries Shirley Chew and Alistair published the book titled Translating Life: Studies in Translational Aesthetics (1999), which is a very important book in the western field of aesthetic translation.
Compared with that in foreign countries, the study on translation aesthetics in China is much richer. According to Wang Bingqin (2004), among the ‘ten theories’ in Chinese translational field, most of them have aesthetic origins. During the twenty years after 1990s,there are many monographs on translation aesthetics came into being, such as Fu Zhongxuan's 'Practical Translation Aesthetics^ (1993), Liu Miqing's Introduction to Translation Aesthetics ‘ (1995) and its revised edition (2005),Jiang Qiuxia's 'Aesthetic Progression in Literary Translation. From the perspective of these monographs' promoting effect to the establishment of translation aesthetic theory, the 'Practical Translation Aesthetics, (1993) and ‘Introduction to Translation Aesthetics (1995) are the best two and require the attention of scholars in related fields. The former has analyzed the aesthetic object, aesthetic subject, aesthetic activity, aesthetic standards and aesthetic reconstruction methods in detail and discusses the task of translation aesthetics in the introduction. The latter just ‘uses the basic principles of modem aesthetics to study the operating mechanism of translation, establishes the fundamental framework of modem translation aesthetics, discusses many questions related to translation like its scientific and artistic features, aesthetic object, aesthetic subject and aesthetic consciousness, and points out the aesthetic standards and methods to different kinds of literary forms.' (Mao Ronggui, 2005: 253)
Artistic conception is the soul of classical Chinese poetry, and undoubtedly it is the essence in the translation of classical Chinese poetry. And it even can be regarded as the standard for whether the translation of a classical Chinese poem is good or not. For the artistic conception is one special characteristic of classical Chinese poetry, the former studies on its transfer in the process of translation were mostly conducted by Chinese scholars recent years, many scholars have recognized the importance of the transfer of artistic conception in translation. Yang Hongqiu (1986),a scholar in Beijing University, published a paper named Artistic Conception and Fuzziness of Language: on Poetry Translation, in which she stated that it was the fuzzy structure that formed the artistic conception of poetry. Dong Wugang (1994) analyzed the artistic conception in poems and its conveyance in his paper Tentative Comment on the Conveyance of the Artistic Conception in the Translation of Poems、Chen Jing & Chen Xinren (1998) explained the composition of artistic conception of poems and provided some advice on the transference of it. Sun Yingeh(2000) discussed the issue of artistic conception's translation and explained its importance further. Li Yan (2005) published her master thesis named On the Transference of Artistic Ideorealm in the Translations of Yi'an Ci,in which she analyzed the translating method for Yi'an Ci by comparative study. Zhao Yue (2006), a postgraduate in Shanghai International Studies University, published her master thesis titled An Aesthetic Probe into the Transference of Artistic Concept in Literary Translation, in which she conducted a systematic study on the transference of artistic conception in literary translation. According to the statistics in CNKI, it can be found that the relative research on the transfer of artistic conception is growing rapidly, especially since the 21th Century.
3. Theoretical Basis of the research
The employment and development of aesthetics in translation has accelerated the development of translation studies and it provides rich theoretical materials and new fields for translation studies. To some extent, without aesthetics modem translation studies can never be what it is today.
3.1 The source of aesthetics
According to Zhu Guangqian (1979:3), aesthetics is the study of beauty (朱光潜, 1979: 14). Aesthetics is defined in Oxford Advanced Learner's English-Chinese Dictionary as "the branch of philosophy dealing with the principles of beauty and artistic taste" (2002: 23). Just like the saying goes that to love beauty is the inborn nature of human being, appreciating beauty is an innate inclination of human beings. Thus aesthetics comes into existence and provides human beings better perspectives to explore the nature of beauty. But it has gone through a long period to make it an abstract concept from the appreciating of concrete matters. The most significant sign of this development is the appearance of the word aesthetics.
The earliest records related to the definition of aesthetics in the west were Homer's Iliad and Odyssey. It was statistic that Home used the noun word of "Callos", meaning beauty, for about sixteen times and the adjective word "Callos", meaning beautiful, for one hundred eighteen times (刘宓庆,2005 : xvi). Aesthetics, originally coming from the Greek word ― aisthetikcs, was first proposed by the German philosopher A. G. Baumgarten (1714-1762) in his "Philosophical Meditation on Poetry". For him, the word aesthetics means taste or "sense" of beauty, which is the foundation for aesthetic induction. He aimed to study aesthetics from perceptual aspect instead of the logical one and considered it as the fullness of perception. C朱光潜:1962(02);朱光潜:1989(04)) However, reviewing the long history of western aesthetic thoughts, the study of aesthetics has been focused on the entity of beauty and aesthetic activities were opposing real life. Plato (428-347 BC) suggested that beauty must go through the process from sense to reason (刘宓庆,2005:44-45). Immanuel Kant (1724-1804) adopted the term "aesthetics" and studied the subjective nature of aesthetic qualities and experience(鲍晓晨,1996: 375). It is Baumgarten who invents a modem usage of the word and helped to establish the study of aesthetics as an independent field of study.
Actually, Baumgarten’s idea, in a sense, echoes Chinese traditional aesthetic thoughts, many of which have spread widely long before the coinage of the word aesthetics. Chinese scholars' exploration of aesthetics has never deviated what Lao-Tzu and Zhuang-Tzu have advocated- natural beauty and what Wittgenstein has proposed ― "form of life" (Wittgenstein, 1953: 245). The Roots of Wisdom (《菜根谭》),a great collection of essays, says that everything in the world can be poetry. Singing, writing, painting, cooking, drinking, playing, sleeping and so on, being nothing but common things in daily life, marry perfectly with aesthetic experiences for the Chinese. They always integrate beauty into life, nature and themselves. The aesthetic form of Chinese people is to internalize and naturalize the beauty in external world, endue it the truth of life (潘知常,2000: 179).
3.2 Factors Affecting the Transfer of Artistic Conception
The translation of artistic conception is affected by various factors. Translation must involve the original text, the target text, the translator and the target reader. The artistic conception belongs to the aesthetic field. The study objects of translation are the aesthetic objects (source language text, language text), the aesthetic subjects (translator, target reader), aesthetic activity in translation, aesthetic judgment in translation, aesthetic appreciation, aesthetic standards, and the creative aesthetic reproduction in the process of translation and so on.(Mao Ronggui,2005: 7) The reproduction or transfer of artistic conc