從翻譯美學(xué)角度看王科一的《傲慢與偏見》譯本【開題報(bào)告+文獻(xiàn)綜述+畢業(yè)論文】

1、<p><b>　　畢業(yè)論文開題報(bào)告</b></p><p><b>　　英語</b></p><p>　　從翻譯美學(xué)角度看王科一的《傲慢與偏見》譯本</p><p>　　一、選題的背景、意義：</p><p>　　美學(xué)（aesthetics）的發(fā)展與演變歷程較為久遠(yuǎn)。它的誕生一般追溯到1

2、8世紀(jì)德國(guó)的啟蒙思想家、哲學(xué)家和美學(xué)家鮑姆加登（Alexander Gottlieb Baumgarten）。他認(rèn)為美學(xué)的原意就是一門研究人的感性的學(xué)科。</p><p>　　縱觀翻譯史，無論是西方的翻譯理論還是中國(guó)傳統(tǒng)的翻譯理論，都能見到其美學(xué)淵源。</p><p>　　西方美學(xué)史是從古希臘羅馬、中世紀(jì)、文藝復(fù)興，到現(xiàn)代歐美的美學(xué)思想發(fā)展史。西方美學(xué)史源遠(yuǎn)流長(zhǎng)，著名的美學(xué)家、著作和流派極

3、多，影響遍及世界。近現(xiàn)代中國(guó)美學(xué)也受到它的影響。</p><p>　　之于中國(guó)古典美學(xué)理論，它是在與上層建筑和其它社會(huì)意識(shí)形態(tài)領(lǐng)域廣泛聯(lián)系的基礎(chǔ)上建立起來的。以孔子、孟子為代表的儒家思想，以老子、莊子為代表的道家思想，以屈原為代表的楚騷文藝思想，以禪宗為代表的佛教思想，都對(duì)美學(xué)有極大的影響。中國(guó)古典美學(xué)的基本特征是強(qiáng)調(diào)主觀心靈感受和意趣抒發(fā)，講求寫意、情感寄托，將理性、功利、倫理道德溶于美感直覺，不主張對(duì)現(xiàn)實(shí)外貌

4、作機(jī)械瑣細(xì)的摹擬或直說抽象玄想。在藝術(shù)表現(xiàn)上，追求神似，推崇虛實(shí)相生來表現(xiàn)人的情感意緒。</p><p>　　針對(duì)王科一的《傲慢與偏見》譯文，多數(shù)讀者所持態(tài)度是褒義的，原因有三：①可讀性強(qiáng)，地道中國(guó)化的語言，很有古典色彩；②符合書里的那個(gè)時(shí)代用語，傳神、雋秀；③以其獨(dú)到的功底和理解力成功地再現(xiàn)了原作的寫作風(fēng)格,突顯了原作人物的個(gè)性。批評(píng)者多緣于譯者忽略語境、望文生義產(chǎn)生的誤譯?？傮w上，筆者欣賞王科一譯本的整體風(fēng)格

5、，本文將把美學(xué)的研究成果與本文的翻譯成果結(jié)合起來進(jìn)行分析。</p><p>　　本論題旨在翻譯美學(xué)理論指導(dǎo)下，以意（模糊）美為切入點(diǎn)，結(jié)合王科一《傲慢與偏見》的譯本來分析，借鑒已有的研究成果，對(duì)英譯中過程如何傳遞“意”的現(xiàn)象作出探討、淺析。</p><p><b>　　意義：</b></p><p>　　1．美學(xué)角度論證文本翻譯</p&g

6、t;<p>　　美學(xué)在其發(fā)展的過程中，與諸如哲學(xué)、歷史學(xué)、人類學(xué)、社會(huì)學(xué)等各類學(xué)科結(jié)合，促進(jìn)各學(xué)科相互借鑒交流，而它與翻譯學(xué)的聯(lián)姻也是歷史發(fā)展的必然。翻譯美學(xué)既是一門科學(xué)，也是一門藝術(shù)，美之所見，仁者見仁。從藝術(shù)角度來看的翻譯，給讀者以美的享受，這離不開美學(xué)的視線。</p><p>　　2．促進(jìn)中西文化的交流： </p><p>　　每一民族文化都有其長(zhǎng)久發(fā)展的獨(dú)特魅力，翻譯

7、是溝通彼此的橋梁。對(duì)于翻譯美學(xué)理論的研究，可以反映出不同社會(huì)的文化背景，對(duì)了解英漢文化的異同有所幫助，拓寬自身的文化視野，增進(jìn)不同民族的文化交流具有重要作用，也有助于中西方文化更好地研究與交流。</p><p>　　二、研究的基本內(nèi)容與擬解決的主要問題： </p><p>　　基本內(nèi)容：文章首先介紹了研究的中外背景、研究意義、關(guān)鍵詞定義，接下來重點(diǎn)介紹模糊美學(xué)在文章中的應(yīng)用。中國(guó)特色文學(xué)主

8、要趨于“以神馭形”，語言含蓄雋永、高度凝練、意象豐富、意境深遠(yuǎn)，其中模糊美從志、情、意、象四個(gè)維度對(duì)形意相融作了很好的闡述。本文以毛榮貴教授的《翻譯美學(xué)》與劉宓慶教授的《翻譯美學(xué)導(dǎo)論》為理論依據(jù)，以模糊美為切入點(diǎn)，結(jié)合分析王科一的《傲慢與偏見》譯本。</p><p>　　Towards the Reproduction of Verbal Beauty in Wang’s Translation of Pride

9、 and Prejudice</p><p>　　Introduction </p><p>　　Research Background</p><p>　　1.2 Research Objectives and Significance</p><p>　　2．The Concepts of Translation Aesthetics a

10、nd Fuzzy Aesthetics</p><p>　　3 An analysis of the Wang’s version in the perspective of Fuzzy Aesthetics</p><p>　　3.1 The Compatibility of Ambitions and Emotions</p><p>　　3.1.1 Iron

11、y</p><p>　　3.1.2 Humor</p><p>　　3.2 Rich in both image and symbol</p><p>　　4 Conclusion</p><p><b>　　擬解決的主要問題:</b></p><p>　　美學(xué)意義的模糊（fuzziness），或

12、稱“藝術(shù)性模糊語言”在翻譯中的應(yīng)用。</p><p>　　三、研究的方法與技術(shù)路線：</p><p>　　研究方法：文獻(xiàn)檢索法、分析歸納法、對(duì)比歸納法。</p><p>　　技術(shù)路線：通過借閱圖書館書本，以及網(wǎng)上搜索有關(guān)這個(gè)課題的資料，結(jié)合兩者及自己的想法，擬定出該論文。</p><p>　　翻譯角度探討解決方案：舉例分析</p>

13、<p>　　四、研究的總體安排與進(jìn)度：</p><p>　　2010年10月 初步確定論文題目 </p><p>　　2010年11月底 確定選題，下達(dá)任務(wù)書， </p><p>　　2010年12月底 開題報(bào)告，文獻(xiàn)綜述， </p><

14、p>　　2011年2月底前 提交論文初稿 </p><p>　　2011年3月底前 初稿、二稿的修改 </p><p>　　2011年4月底前 三稿、四稿的修改 </p><p>　　2011年5月上旬 定稿，提交按要求裝訂的論文

15、終稿一式四份 </p><p>　　2010年5月下旬 答辯</p><p><b>　　五、主要參考文獻(xiàn)：</b></p><p>　　[1] 陳敏. 《傲慢與偏見》主要漢語譯本的比較研究[D]. 山東大學(xué).2009 </p><p>　　[2] 陳婷. 從翻譯美學(xué)角度看楊必譯《

16、名利場(chǎng)》[D].湖南師范大學(xué). 2010 </p><p>　　[3] 董俊峰. 論《傲慢與偏見》的喜劇美學(xué)特征[J]. 貴州師范大學(xué)學(xué)報(bào)（社會(huì)科學(xué)版），2000，（1）:76-78</p><p>　　[4] 郭天博,胥謹(jǐn). 翻譯美學(xué)初探[J]. 文獻(xiàn)資料，2010，（12）:38-39</p><p>　　[5] 胡婷. 論楊必譯《名利場(chǎng)》中人物對(duì)話的審美再現(xiàn)—

17、—翻譯美學(xué)的啟示[D]. 西南交通大學(xué). 2010</p><p>　　[6] 劉宓慶.翻譯美學(xué)導(dǎo)論[M].中國(guó)對(duì)外翻譯出版公司，2005</p><p>　　[7] 毛榮貴.翻譯美學(xué)[M].上海交通大學(xué)出版社，2005. </p><p>　　[8] 王愛飛. 從文體學(xué)的角度看《傲慢與偏見》兩個(gè)譯本的幽默風(fēng)格的翻譯[D].湖北工業(yè)大學(xué).2009 </p&

18、gt;<p>　　[10] 楊希. 自然流暢，準(zhǔn)確生動(dòng)——簡(jiǎn)析譯林版《傲慢與偏見》[D].武漢外語外事職業(yè)學(xué)院語言學(xué)部. 湖北武漢.2010 </p><p>　　[11] 張小潔. 接受美學(xué)視野下孫致禮的翻譯辨證論——兼評(píng)兩個(gè)《傲慢與偏見》中譯本[D]. 2006 </p><p><b>　　指導(dǎo)教師審核意見：</b></p><

19、p>　　簽字： 年 月 日</p><p><b>　　畢業(yè)論文文獻(xiàn)綜述</b></p><p><b>　　英語</b></p><p>　　從翻譯美學(xué)角度看王科一的《傲慢與偏見》譯本</p><p><b>　　一、前言部分</b></

20、p><p>　　美學(xué)（aesthetics）的發(fā)展與演變歷程較為久遠(yuǎn)?？v觀翻譯史，無論是西方的翻譯理論還是中國(guó)傳統(tǒng)的翻譯理論，都能見到其美學(xué)淵源。它的誕生一般追溯到18世紀(jì)德國(guó)的啟蒙思想家、哲學(xué)家和美學(xué)家鮑姆加登（Alexander Gottlieb Baumgarten）。他認(rèn)為美學(xué)的原意就是一門研究人的感性的學(xué)科。</p><p>　　西方美學(xué)史是從古希臘羅馬、中世紀(jì)、文藝復(fù)興，到現(xiàn)代歐美

21、的美學(xué)思想發(fā)展史。西方美學(xué)史源遠(yuǎn)流長(zhǎng)，著名的美學(xué)家、著作和流派極多，影響遍及世界。近現(xiàn)代中國(guó)美學(xué)也受到它的影響。</p><p>　　中國(guó)古典美學(xué)理論，它是在與上層建筑和其它社會(huì)意識(shí)形態(tài)領(lǐng)域廣泛聯(lián)系的基礎(chǔ)上建立起來的。以孔子、孟子為代表的儒家思想，以老子、莊子為代表的道家思想，以屈原為代表的楚騷文藝思想，以禪宗為代表的佛教思想，都對(duì)美學(xué)有極大的影響。中國(guó)古典美學(xué)的基本特征是強(qiáng)調(diào)主觀心靈感受和意趣抒發(fā)，講求寫意、情

22、感寄托，將理性、功利、倫理道德溶于美感直覺，不主張對(duì)現(xiàn)實(shí)外貌作機(jī)械瑣細(xì)的摹擬或直說抽象玄想。在藝術(shù)表現(xiàn)上，追求神似，推崇虛實(shí)相生來表現(xiàn)人的情感意緒。</p><p>　　從總的發(fā)展特征上看，與中國(guó)傳統(tǒng)美學(xué)相比，西方美學(xué)并不十分關(guān)注語言審美。如同西方語言講求語法邏輯，西方美學(xué)更多表達(dá)的是美的本質(zhì)問題，思辯色彩比較濃厚。相反，漢語是一種感性的語言，強(qiáng)調(diào)“內(nèi)在性藝術(shù)”，即將美直感化、直覺化，使之融入生活，融入自然，尤其

23、是融入自我，實(shí)現(xiàn)意與境的交融，達(dá)到天人合一的終極追求。</p><p>　　文學(xué)作品是人類歷代聰明才智的結(jié)晶，翻譯則成為它向外傳播的紐帶，以中國(guó)為例，大量外國(guó)文學(xué)引入國(guó)內(nèi)，對(duì)中國(guó)文學(xué)的繁榮起著促進(jìn)和借鑒的作用，讓中國(guó)文學(xué)漸漸融合世界現(xiàn)代文學(xué)潮流。</p><p>　　《辭海》（1999年版）對(duì)”美學(xué)”下了一個(gè)明晰的定義：研究人對(duì)現(xiàn)實(shí)的審美關(guān)系和審美意識(shí)，美的創(chuàng)造、發(fā)展及其規(guī)律的科學(xué)。翻譯美

24、學(xué)定義的界定：翻譯美學(xué)的研究對(duì)象是翻譯中的審美客體(原文、譯文)，翻譯中的審美主體（譯者、讀者），翻譯中的審美活動(dòng)，翻譯中的審美判斷，審美欣賞，審美標(biāo)準(zhǔn)以及翻譯過程中富有創(chuàng)造性的審美再現(xiàn)等等。翻譯美學(xué)研究追求美學(xué)與翻譯聯(lián)姻的和諧。隨著對(duì)翻譯美學(xué)研究的更多關(guān)注，模糊美學(xué)這一年輕的分支也獲得很大的發(fā)展并逐漸系統(tǒng)化。</p><p><b>　　二、主題部分</b></p><

25、p>　　中國(guó)古典美學(xué)的基本特征是強(qiáng)調(diào)主觀心靈感受和意趣抒發(fā)，講求寫意、情感寄托，將理性、功利、倫理道德溶于美感直覺，不主張對(duì)現(xiàn)實(shí)外貌作機(jī)械瑣細(xì)的摹擬或直說抽象玄想。在藝術(shù)表現(xiàn)上，追求神似，推崇虛實(shí)相生來表現(xiàn)人的情感意緒。</p><p>　　針對(duì)王科一的《傲慢與偏見》譯文，多數(shù)讀者所持態(tài)度是褒義的，原因有三：①可讀性強(qiáng)，地道中國(guó)化的語言，很有古典色彩；②符合書里的那個(gè)時(shí)代用語，傳神、雋秀；③以其獨(dú)到的功底和

26、理解力成功地再現(xiàn)了原作的寫作風(fēng)格,突顯了原作人物的個(gè)性。批評(píng)者多緣于譯者忽略語境、望文生義產(chǎn)生的誤譯。總體上，筆者欣賞王科一譯本的整體風(fēng)格，本文將把美學(xué)的研究成果與本文的翻譯成果結(jié)合起來進(jìn)行分析。</p><p>　　較早時(shí)期從美學(xué)的視角探討翻譯問題，主要通過實(shí)例分析英漢兩種語言各自的音韻美、形式美和意境美，證明了翻譯中美學(xué)的必要性。</p><p>　　后期有從翻譯美學(xué)角度寫《名利場(chǎng)》的

27、論文，引證劉宓慶與毛榮貴兩人的翻譯美學(xué)理論指導(dǎo)思想，強(qiáng)調(diào)了翻譯理論與美學(xué)的密切聯(lián)系，突出小說對(duì)話這種特殊的藝術(shù)形式所蘊(yùn)含的美感。從具體事例的分析闡述文學(xué)翻譯需用另一種語言去再現(xiàn)原作的美，具有審美體驗(yàn)和審美再現(xiàn)的過程。</p><p>　　2006年，華中師范大學(xué)張小潔擬從接受美學(xué)理論的角度重點(diǎn)圍繞三對(duì)矛盾展開分析：歸化與異化；直譯與意譯；克己與創(chuàng)造。而后文學(xué)翻譯趨向自然流暢，準(zhǔn)確生動(dòng)，不過分拘泥于原文文字本身，不

28、逐字逐句翻譯，忠實(shí)再現(xiàn)原著的藝術(shù)意境和人物性格，重視閱讀美感，也通過運(yùn)用文體學(xué)的分析方法實(shí)現(xiàn)幽默風(fēng)格翻譯的可行性，以最優(yōu)美的漢語文字地道的傳達(dá)出原品風(fēng)格。這篇論文的主旨是圍繞翻譯美學(xué)的模糊美，它是獨(dú)立出的一門分支學(xué)，但又滲透在上述的各個(gè)論點(diǎn)當(dāng)中。</p><p>　　翻譯美學(xué)的發(fā)展是文學(xué)發(fā)展的必然。它對(duì)翻譯或美學(xué)都是一個(gè)補(bǔ)充，也是兩者相互滲透的媒介。對(duì)于翻譯美學(xué)理論的研究，可以反映出不同社會(huì)的文化背景，對(duì)了解英漢

29、文化的異同有所幫助，拓寬自身的文化視野，增進(jìn)不同民族的文化交流具有重要作用，也有助于中西方文化更好地研究與交流。</p><p><b>　　三、總結(jié)部分</b></p><p>　　美究竟是什么？這是美學(xué)領(lǐng)域的“哥德巴赫猜想”。美學(xué)與翻譯理論也是在曲折探討中向前發(fā)展，是一片值得勘探的寶藏。它所深入的諸多學(xué)科領(lǐng)域中，均取得研究成果，在學(xué)科交叉的成果將越來越興盛。筆者在

30、此于其中一分支——翻譯美學(xué)的指導(dǎo)下，以意（模糊）美為切入點(diǎn)，結(jié)合文本進(jìn)行探討英譯中的意的傳遞，希望推陳出新。</p><p><b>　　四、參考文獻(xiàn)</b></p><p>　　[1] 陳敏. 《傲慢與偏見》主要漢語譯本的比較研究[D]. 山東大學(xué).2009 </p><p>　　[2] 陳婷. 從翻譯美學(xué)角度看楊必譯《名利場(chǎng)》[D].湖南師

31、范大學(xué). 2010 </p><p>　　[3] 董俊峰. 論《傲慢與偏見》的喜劇美學(xué)特征[J]. 貴州師范大學(xué)學(xué)報(bào)（社會(huì)科學(xué)版），2000，（1）:76-78</p><p>　　[4] 郭天博,胥謹(jǐn). 翻譯美學(xué)初探[J]. 文獻(xiàn)資料，2010，（12）:38-39</p><p>　　[5] 胡婷. 論楊必譯《名利場(chǎng)》中人物對(duì)話的審美再現(xiàn)——翻譯美學(xué)的啟示[D]

32、. 西南交通大學(xué). 2010</p><p>　　[6] 劉宓慶.翻譯美學(xué)導(dǎo)論[M].中國(guó)對(duì)外翻譯出版公司，2005</p><p>　　[7] 毛榮貴.翻譯美學(xué)[M].上海交通大學(xué)出版社，2005. </p><p>　　[8] 王愛飛. 從文體學(xué)的角度看《傲慢與偏見》兩個(gè)譯本的幽默風(fēng)格的翻譯[D].湖北工業(yè)大學(xué).2009 </p><p&

33、gt;　　[10] 楊希. 自然流暢，準(zhǔn)確生動(dòng)——簡(jiǎn)析譯林版《傲慢與偏見》[D].武漢外語外事職業(yè)學(xué)院語言學(xué)部. 湖北武漢.2010 </p><p>　　[11] 張小潔. 接受美學(xué)視野下孫致禮的翻譯辨證論——兼評(píng)兩個(gè)《傲慢與偏見》中譯本[D]. 2006 </p><p><b>　　本科畢業(yè)論文</b></p><p><b>

34、　　（20 屆）</b></p><p><b>　　英語</b></p><p>　　從翻譯美學(xué)角度看王科一的《傲慢與偏見》譯本</p><p>　　A Study on the Chinese Translation of Pride and Prejudice from the Translation Aesthetic P

35、erspective：A Case Study on Wang Keyi’s Version</p><p><b>　　誠(chéng) 信 聲 明</b></p><p>　　我聲明，所呈交的論文(設(shè)計(jì))是本人在老師指導(dǎo)下進(jìn)行的研究工作及取得的研究成果。據(jù)我查證，除了文中特別加以標(biāo)注和致謝的地方外，論文(設(shè)計(jì))中不包含其他人已經(jīng)發(fā)表或撰寫過的研究成果，也不包含為獲得＿＿＿＿＿＿

36、或其他教育機(jī)構(gòu)的學(xué)位或證書而使用過的材料。我承諾，論文(設(shè)計(jì))中的所有內(nèi)容均真實(shí)、可信。</p><p>　　論文(設(shè)計(jì))作者簽名： 簽名日期： 年 月 日</p><p><b>　　授 權(quán) 聲 明</b></p><p>　　學(xué)校有權(quán)保留送交論文（設(shè)計(jì)）的原件，允許論文（設(shè)計(jì)）被查閱和借閱，學(xué)校可以公布論文（設(shè)計(jì)）

37、的全部或部分內(nèi)容，可以影印、縮印或其他復(fù)制手段保存論文（設(shè)計(jì)），學(xué)校必須嚴(yán)格按照授權(quán)對(duì)論文(設(shè)計(jì))進(jìn)行處理，不得超越授權(quán)對(duì)論文（設(shè)計(jì)）進(jìn)行任意處置。</p><p>　　論文(設(shè)計(jì))作者簽名： 簽名日期： 年 月 日</p><p><b>　　摘要</b></p><p>　　譯學(xué)與美學(xué)的結(jié)合淵源已久，隨著對(duì)翻譯美學(xué)

38、研究的更多關(guān)注，模糊美學(xué)這一年輕的分支也獲得很大的發(fā)展并逐漸系統(tǒng)化。中國(guó)特色文學(xué)主要趨于“以神馭形”，語言含蓄雋永、高度凝練、意象豐富、意境深遠(yuǎn)。本文以劉宓慶教授的《翻譯美學(xué)導(dǎo)論》與毛榮貴教授的《翻譯美學(xué)》為理論依據(jù)，以模糊美為切入點(diǎn)，從審美客體、審美主體兩方面，結(jié)合分析王科一的《傲慢與偏見》譯本進(jìn)行分析，旨期待美學(xué)與翻譯聯(lián)姻的更加和諧。</p><p>　　關(guān)鍵詞：翻譯美學(xué)；模糊美；傲慢與偏見</p>

39、;<p><b>　　Abstract</b></p><p>　　Aesthetics has a long history of integration with translation, and with more attention paid to Translation Aesthetics, Fuzzy Aesthetics，as a young branch di

40、scipline related to translation studies, has also developed immensely and systemized. Traditional Chinese literature is characterized by its suggestiveness, subtlety, implicitness, and simplicity, which can be typically

41、illustrated by Fuzzy Aesthetics in two dimensions---translation aesthetic subject and object. With the reference books of co</p><p>　　Key words: Translation Aesthetics; fuzzy beauty; Pride and Prejudice</

42、p><p><b>　　Contents</b></p><p>　　AbstractII</p><p>　　1 Introduction4</p><p>　　2 Aesthetics and Translation5</p><p>　　2.1 The Concepts of Transl

43、ation Aesthetics and Fuzzy Aesthetics5</p><p>　　2.2 The Relation between Aesthetics and Translation6</p><p>　　3 An Analysis of Wang Keyi’s (Wang’s) Version from the Perspective of Fuzzy Aesthe

44、tics.7</p><p>　　3.1 The Translation Aesthetic Object8</p><p>　　3.1.1 Irony8</p><p>　　3.1.2 Humor10</p><p>　　3.2 The Translation Aesthetic Subject12</p><

45、p>　　4 Conclusion14</p><p>　　Bibliography15</p><p>　　Acknowledgements16</p><p>　　1 Introduction</p><p>　　Literature, the results of generations of acquired wisdom,

46、 is the cultural heritage of the past. For the past hundreds of years, translation plays a vitally important role in the process of how to keep the literature forever existing and spreading. From the theoretical and prac

47、tical point of view, translation theory has always been inseparable from literature.</p><p>　　Previous literary researchers have explored how to apply aesthetic theories into literature translation from a tr

48、anslation aesthetic perspective. The fuzzy beauty is emphasized in the study of poetry while the aesthetic criteria are perfectly manifested in literary works. Xie Hanxing in his article tells us how to transfer the exis

49、ting images as a whole and sufficiently takes use of fuzziness. (謝寒星, 2008) And literary works covering aesthetic translation theories such as On Yang Bi’s Translation</p><p>　　The Chinese version of Pride a

50、nd Prejudice by Wang Keyi has enjoyed a great popularity since it was published in 1980. Many readers tend to favor the traditional taste of its beautiful lines and artistic conception here and there in the book. Current

51、ly the studies chiefly focus on the aspects of marriage attitude, the social background, translation technique, etc. The aesthetic value is seldom touched upon.</p><p>　　The author has read some theories abo

52、ut contemporary Translation Aesthetics, particularly by Mao Ronggui and Liu Miqing. Combined with Wang’s translation of Pride and Prejudice and having a good understanding of them, we can get enlightenment from western t

53、ranslation theories and develop those of our own.</p><p>　　This thesis focuses on the fuzzy beauty as the aesthetic criteria so as to probe into the phenomenon of passing the artistic conception and keep the

54、 integration of Aesthetics and translation in a more harmonious way.</p><p>　　In the long run, it can not only stimulate the moral and cultural accomplishments of translator, but also promote the culture exc

55、hange, which is deemed as a part of a nation’s property.</p><p>　　2 Aesthetics and Translation</p><p>　　2.1 The Concepts of Translation Aesthetics and Fuzzy Aesthetics </p><p>　　Con

56、temporary Translation Aesthetics is a comprehensive course integrated of both translation and aesthetics. It applies basic aesthetic theories to the translation arena, which can be divided into several modules, such as p

57、oetry, prose and drama. In this paper, the author mainly introduces the aesthetic translation of literature, which is a kind of recreation of aesthetic activity. During the recreation process, the aesthetic subject (the

58、 translator) transfers source language (SL) into target l</p><p>　　In Professor Mao Ronggui’s book, the fuzziness is specially termed in an aesthetic aspect. It leads readers to digest independently, contemp

59、late deeply, imagine freely and comprehend more precisely. The fuzziness may be related to polysemy, pun and other figures of speech. The purpose of fuzziness is not merely a deliberate appearance, but a hazy and far-rea

60、ching outline of the content, such as achieving the effect of euphemism, humor and literary talent. </p><p>　　According to Professor Liu Miqing’s theory, the aesthetics can be analyzed in three dimensions——

61、aesthetic subject, aesthetic object and aesthetic reproduction. Fuzzy beauty is one of the major issues of Translation Aesthetics. It refers to the words involving a feature of Beautiful Obscurity, which has a far-reachi

62、ng semantic extension. Obviously, distinct type of reading offers readers a clear and easy grace, yet fuzziness gives readers a hazy view by which they can develop the ability of inde</p><p>　　2.2 The Relati

63、on between Aesthetics and Translation</p><p>　　Aesthetics has not become an independent or formal discipline until 1750 when the Germany Alexander Gottlieb Baumgarten first used the word in his aesthetic wri

64、tings. Later, it was gradually accepted by the Sinology field.</p><p>　　The contemporary Chinese Translation Aesthetics has absorbed the essence of Western theories and developed the traditional translation

65、methods as well, forming a theory with Chinese characteristics. Chinese translation studies and aesthetics are linked by a very close relationship with a long history of philosophy. In China, the Aesthetics is an ancient

66、 subject, and at some point also young as well. To be specific, the Chinese aesthetic thought has a history of more than two thousand years, but </p><p>　　The creation of every literature is based on the pri

67、nciple of art beauty, in other words, the invention of art is the invention of beauty. An eye for beauty is needed in every sense of word, thus literature translation, as a sort of literature and art, is always accompani

68、ed by the aesthetic activity. From the Translation Esthetic angle, it is about the concern of converting one language into another in an artistic way. When there is a successful literary output, there must have conveyed

69、a profes</p><p>　　Among all the translation activities, literature translation is the most fascinating but also most controversial and toughest task. Esthetic experience may range from the selection of a sma

70、ll word to the whole context such as the likeness not only in appearance but also in spirit and the transmigration of souls. The translator experiences the same aesthetic creation as the original writer did. </p>

71、<p>　　Although the forms of beauty differ from language to language, the differences won’t be an obstruction to convey the beauty in literature translation since there exists many common points in aesthetic features

72、 and aesthetic delights, which are expressed through these forms. (毛榮貴, 2005:248). The same aesthetic features and delights are one of the basic factors of translation aesthetic activities, and so are the translation aes

73、thetic theories. </p><p>　　The reason why fuzziness is a proper way to express the author’s idea can be illustrated by following arguments.</p><p>　　In the first place, it is widely known that a

74、esthetics has a long history with philosophy and as a result, the translation aesthetics inherits its partial characteristics--- speculative. Philosophical aesthetics pays more attention to the forms of image in a macros

75、copic view rather than a microcosmic one. Concretely, as to answer what is spiritual likeness and how to give a definition of beauty, no one can give an exact reply. One thousand readers have one thousand different versi

76、ons. </p><p>　　Secondly, generally speaking, compared to traditional Chinese Aesthetics, Western Aesthetics puts more emphases on the logic philosophization of theories, rather than the study of language aes

77、thetics. On the contrary, Chinese language is expressed in a perceptive way, giving priority to the inner beauty. That is to say, Chinese people tend to externalize the beauty and put the concept in daily life and nature

78、, pursuing the "Nature and Humanity" ideology.</p><p>　　Surely the aesthetic outcome is restricted by the aesthetic experience, literature artistic accomplishment etcetera of the translation aesthe

79、tic subjects. The result varies according to different aesthetic subjects. Therefore, fuzziness is a feasible way to transmit the deep meaning of the original work.</p><p>　　3 An Analysis of Wang Keyi’s (Wan

80、g’s) Version from the Perspective of Fuzzy Aesthetics.</p><p>　　Wang Keyi is a superb talent as a literature translator. His translation of pride and prejudice is deemed as the most classical one. Although r

81、eaders may find the name or other translations in a colloquial style, it cannot be denied that his translation in such a harmonious layout is a full demonstration of the artistic height the original text attains. The fol

82、lowing content discusses some typical paragraphs of the source text from the perspective of Translation Aesthetics.</p><p>　　3.1 The Translation Aesthetic Object</p><p>　　Translation aesthetic o

83、bject refers to those objects that have aesthetic value whereby people can be satisfied from aesthetic standards and sensibilities. It includes formal system and informal system. The former can give readers a concrete im

84、age to feel it, such as the aesthetic information of phonemes, words, syllables, etc. The latter means aesthetic fuzzy sets, which in general characterize all the immaterial aesthetic existence. Its essential trait is fu

85、zzy, indefinite and nonquantitative, </p><p>　　3.1.1 Irony</p><p>　　Jane Austen (1775 –1817) was a distinguished English women novelist whose works of romantic fiction, set among the landed gent

86、ry, earned her a place as one of the most widely popular writers in English literature. She was endowed with the power of acute observation and utilizes it to depict the outside world within her articles, which is a mini

87、ature of part of the whole social setting. If we read between the lines, we could detect her realism and biting social commentary towards man’s weakness.</p><p>　　Fuzziness, as an important advantage for its

88、 effective expression, has a close relationship with the figures of speech, such as metaphor, pun and exaggeration. First, take irony as an example: </p><p>　　①At the beginning of the novel, Austen stressed

89、the theme directly, “It is a truth universally acknowledged, that a single man in possession of a good fortune, must be in want of a wife.”（Austen1）</p><p>　　凡是有錢的單身漢，總想娶位太太，這已經(jīng)成了一條舉世公認(rèn)的真理。(Wang1)</p>

90、<p>　　“…that he is considered the rightful property of some one or other of their daughters.” </p><p>　　因此人們總是把他看作自己某一個(gè)女兒理所應(yīng)得的一筆財(cái)產(chǎn)。</p><p>　　From these two sentences, it is quite evident t

91、hat the writer criticized people like Mrs.Bennet, who is a woman of mean understanding, little information, and uncertain temper and embarrasses her older daughters with her ignorance and lack of class. </p><p

92、>　　During the translation process, the priority of the translator is to grasp the essence such as the sentiment, purpose in the SL, in order to choose proper words and make sure the aesthetic representatives of the or

93、iginal style. In Wang’s translation, “universally acknowledged” is translated as “舉世公認(rèn)”, “rightful” as“理所應(yīng)得”. The translation, a little hyperbole, reinforces the ironic expressional effect. One of the reasons is that the

94、y are all involved with fuzziness. Take the “舉世公認(rèn)”for instance, ea</p><p>　　Another case to support the idea is about Mr. Collins, who is a pompous, undignified mixture of servility and self-importance. The

95、setting in Jane Austen's ages was that there was very little a woman could do to make a respectable living. So marriage was the best means for a woman to ensure her financial and social status in the future, even if

96、her happiness was sacrificed to marry a man who is totally unromantic and highly pragmatic. We can easily find clues to see the sarcasm the author used a</p><p>　?、凇癟he respect which he felt for her high ran

97、k, and his veneration for her as his patroness, mingling with a very good opinion of himself, of his authority as a clergyman, and his right as a rector, made him altogether a mixture of pride and obsequiousness, self-im

98、portance and humility.”(Austen82))</p><p>　　他看到他的女施主地位頗高，便悉心崇拜，備加尊敬；另方面又自命不凡，自以為當(dāng)上了教士，該有怎樣怎樣的權(quán)利，于是他一身兼有了驕傲自大和謙卑順從的兩重性格。(Wang84)</p><p>　　悉心崇拜，備加尊敬 are commendatory epithets in Chinese. However,

99、it is used here for an opposite effect. According to Wikipedia web, irony here is a disparity of expression and intention: when a speaker says one thing but means another, or when a literal meaning is contrary to its int

100、ended effect. The words in Chinese are approving while the original meaning is quite disapproving. </p><p>　　The extent of how people view the deep meaning of the content depends on the consciousness the app

101、reciator owns. The words in italic portion give us a vivid impression of the clergyman’s disposition, paving the way for later ridiculous marriage proposal. </p><p>　?、邸癕r. Collins, to be sure, was neither

102、sensible nor agreeable; his society was irksome, and his attachment to her must be imaginary.” (Austen144)</p><p>　　柯林斯先生固然既不通情達(dá)理，又不討人喜愛，同他相處實(shí)在是件討厭的事，他對(duì)她的愛也一定是空中樓閣。(Wang142)</p><p>　?、堋癢ithout t

103、hinking highly either of men or matrimony, marriage had always been her object; it was the only provision for well-educated young women of small fortune, and however uncertain of giving happiness, must be their pleasante