从格式塔意象再造的角度谈.txt

udc . centralsouthuniversity 200611onthetransliionofthegardenimagein glugfromthepespectiveof gestali imageactualization thesis submittedinpartialfulfillmentoftherequirementsfor thedegreeofmasterofarts inthegraduatesehoolofcentralsouthuniversity by xiating supervisor:professorzhangyingxian november2006 schoolofforeignlanguages centralsollthuniversity :塮 涨: ; ; 涨 :-:- 屦 岿 巽 2002 : :(l) ;(2) ;(3) : ;: : ; :飬abstr8ct hongloung thegreattreasureofchineseliteratureholds tremendousvaluenotoulyinideologybutalsoinaestheties inwhichthe plentifulandvariedimagesperhapswouldimpressallthereaders.the beautyofimage 15consideredtobetheindispensablesubjeetinhong loung 5aesthetieappreciation.espeeiallytheimageof daguan yuan( )withabundanteonnotationsdeeplyagreeswiththeplot developmentandartistieconeeption.onthebasisofthetheoryof image g(shortfonnofimagegestalt)actualization thispapermainly dealswiththetranslationoftheimagesin daguanyuanand comparativelymakesananalysisofthetwoversionsrespectively translatedbydavidhawkesandbyy nghsienyi. thetheoryofimage gactualization15proposedbydoctorjiang qiuxiainherbookaestheticprogressioninliteraslation: imgegactuallzaton.themainpointsinelude:(l)imagegisanimage inthegestaltsense whieh15auniversalpropertyexistinginaliterarytext; (2)eveimage gshouldcontaingestaltqualitieswhichineludetwo aesthetiealelementsmoodandeontourthusaesthetieally suecessfulliterarytranslationresidesinsuccessfulgestaltquality translation;(3)animage basedtranslationmodel15assuch:phasel: soureetexteomprehension amentalactualizationofimageg;phase 11:targettextcreation-averbalactualizationofimageg thisthesisfurtherdevelopsthepsyehologicalprocessofimageg actualizationintoamodel: gestaltperception schemaformedand transference:aetiveoperation.here thesubjectiveroleoftranslator15 highlightedandmentalimage 5formingandtransference15therooteause forcreativityintranslation.whenit15appliedtotranslationofintegrated daguanyuanimage conclusioneouldbenaturallydrawn:hannonyin wholemustberegardedasthedominanteriteriaofimage gtranslationin dnglou ng.hiordertoaehievetheharmon methodsshouldbe followed:one15empat forkeepingfaithfultothecoreofsoureetextin holisticway;andtheother15ereationofimageforreducingthecultural 1055asmuchaspossible. hishort thisthesiscombinestrsnslationwiththeresearchof psychology hermeneutiesatmaeroseopielevelandemphas esthe wholenessinimage gtranslationandflexibilityinereationofimageat microseopielevel.theptlrpose15tobroadennewanglefortraditional translationandtopaveasmootherwaytocross eulturaleommunieation. keywords:imageimageg translationempathy creationofimage dnglungcolltents i abstract.111 intr0ducti0n.1 chapterlpropositionofimageg.4 1.1 erpretationoflmageg.4 1.1.1soureeofgestalt.4 1.1.2imageandimageg5 1.2gestaltqualitiesoflmageg.8 chapterzproeessofimagegaetuaiization11 2.1image gactualizationinliterarytranslation11 2.2stagesintheprocessofimage gactualizationinliterary translation.12 2.2.1gestaltpereeption13 2.2.2schemafor ned:similarsehemaanddissimilar schema.14 2.2.3transference:activeoperation16 chapter3applieationofimage gtranslationtheorytoh nglou j ng22 3.1charaeteristicsoftheimageinhongloung.22 3.1.1visualdireet viewingbeautyinimageofhonglou ng22 3.1.2 ghlyintegrationbeautyintheimageofhonglou ng.26 3.1.3multivariatesynthesizedbeautyintheimageofhonglou ng28 3.2har onyasthedominantcriteriaofiinage gtranslationinhong lu ng30 3.2.1hannonyinlinguisticleve1.31 3.2.2har onyinaestheticleve1.34 3.2.3har onyinpartsandwhole37 chapter4feasiblestrategiesofimagetransla6oninlou ng. 41 4.1empathy.41 4.1.1interpretationofempathyintheprocessoflmageg trans1ati0n41 4.1.2realizationofempat inimagegtranslation.43 4.1.3comparativestudyofthetwoversionsofhongloung fromtheperspectiveofempat46 4.2creationoflmage.50 4.2.1translator 5subjectiveroleoflmageereating51 4.2.2feasibleutilizationoftheapproachofcreativityofimage translationinhongloung.53 imitation.53 reeasting58 4.2.3handlingofbinarynotiosinlmagegcreation62 imagehandlingbetweenvoidnessand ussdne.o imagehandlingbetweenexplieitnessand implicitness .64 conc!usion67 notes.69 bibn0graphy70 acknowledgements m.athesisintroduction introduetion literarytranslation15aeomplexandmulti levelproeess whieh15 charaeterizedasaereativeaetivity.thisprocessinvolvestheaesthetic activityoftheauthor translatorandreader.imagetranslationinliterary works15withnoexeeption. asoneofthemostimportanteategoriesintheelassiealchinese poetiesandnovels ithasbeeomeaeonstanisubjeetofresearehinreeeni years.themajoreontributionstoimagestu eanbefoundinxia zhifangs geinliterature(xiazhifallg 1993)andchenzhies imge npoet (chenzhie 1989).bothofthemapproachimagestudy fromclassiealtheories earryingforwardimagestu asthequieseeneeof chineseliterature. thell doetorjiangqiuxiaadoptsthepsyehologiealeonceptgestalt toimagetranslationstudy.thetheoryofimage gactualization15 proposedbyherinthebookaestheticprogressioninliteraslation. imgegactualization.sheholdstheviewthatimagegisanimagein thegestaltsense whieh15auniversalpropertyexistinginaliter ytext; liter translationinvolvesaprocessofaesthetieimage gactualization ineludingtwokeysteps:soureetexteomprehension i.e.amental aetualizationofimage gandtargettextereation i.e.averbal aetualizationofimageg m.a.thesisintroduetion theseeffertsareverysignifieantandworthwhile.howevef withthe furtherdevelopmentofinterdisciplinaryresearehinpsychology aesthetiesandtranslation whathasbeenachieved15farfromsuffieient. thefeasiblewaysofdealingwithimagetransfereneearestillatissue. therefore thisthesisfurtherdiscussestheimage ginamoredetailed wayonthebasisofjiang 5researehandeombineditwiththeanalysisof imagetranslationinhonglou ng50astoprovideapracticalmode. asaneneyelopediework honglou ngboastsofriehand enormousimagesamongwhichtheimageof daguanyuaneoniains uniqueartisticandaestheticvaluesandit15alsoatypicalgestalt coneeptionforit15highlyintegrated.thus gestalttranslationtheoryhas powerfulexplanativeforeetothisimage 5translationanditwould provideusthefeasiblemethodstosueeessfulimagetransferenee.this15 whatexaetlythemainpointslieinthethesis. thewholethesiscoversfourps: chapter1discussestheeoneeptionofimage gandmadetheelear distinetionwiththeimageingeneralsense. chapterzmakesathroughanalysistoproeessofimageg actual ation50astorevealtheaetivepsychologicalfaeultyfunctionedin theprocess chapter3illustratesthereasonthatwhycombiningthegestaltimage with nglou ng15exaetlyduetothespeeialcharacteristicsofimage ma.thesisintroduetion inhongloung. chapter4putsupforwardthefeasiblestrategiesofimagetranslation inwhiehempathyandcreativityofimagearehighlightedanda eomparativestudyofthetwotranslationversionsunderdisecusion. m.a.thesis propositionofimageg chapterl propositionofimageg thischapter15devotedtothebasieinterpretationofimageg ineludingdefinitionofimage gandelementsofimage qwhichmight serveasatheoreticalfoundationforthecurrentthesis. 1.1interpretationoflmageg 1.1.1sourceofgestalt gestalt15apsychologiealnotion whiehoriginatesfromthegermany wordgestalt withthemeaningofform.howevef gestaitdoesnt simplyrefertotheordinaryformweseeoruseinthedailylife.hi amerieantraditionaldietionary it15definedas eonfigurationorpattemofelements50unifiedasa asymbolie wholethatits propertiescannotbederivedfromasimplesummationofitsps.and recenilmr.0.breidbaeh j.putsupforwardananotherdefinitionof gestalt inhisessayonthegestaltconcept: wedefineagestaltas theinvariantsofaeollectionofpattemsthateanmutuallybetransformed intoeachotherthroughaelassoftransformationseneodedby or eonversel determiningthatgestalt. fromthesetwodefinitionswe seethatgestalt heremustpossesstwoeharaeteristies:one15itsholistie m.a.thesispropositionofimageg quality;theother15itsintrinsieessenee bywhiehthepsychologistsjust dedueethemainprineipleofgestaltpsyehology that15: thewhole15 morethanthemeresumofitsps andananalysisofthepartseannot provideanunderstandingofthewhole (jiangqiuxia2002:68). wllat 5more gestaltpsyehologyeanbeunderstoodbyexperiencing thegestaltlawsoforganization whiehdeseribethewaysthatwe organizeourexperiencesinasimpleandeoherentmanner.theselaws inelude:lawofproximity lawofsimilarity lawofgood continuation lawofclosure lawofpragnanz(goodform) lawof figure/ground;amongwhiehlawofclosureshouldbeemphasizedhere foritreleasespowerfulexplanativeforeetotheimagetranslation.the lawofelosuresaysthat peopletendtomakeourexperienceascomp aspossible ifsomething15missinginanotherwiseeompletefigure lete ve willtendtoaddit.50whenatranslatorasareadereitherreadthetext he/shewouldautomatieallydrawapictureinhis/herbrainwiththe integrationofindividualimagesandhis/herpersonalrelativeadding informationfortheblankexistinginthesl(shortformofsouree languageinthethesis) whichactually15the50ealledimagegestalt (image gforshortinthisthesis). 1.1.2imageandimageg throughthegestalt discussionabove it15notdifficulttofindthat ma.thesispropositionoflmageg gestaltpsychologyattaehesgreatimportancetotheconeeptof wholeness whichplaysasignificaniroleinimageaswell.dr.jiang qiuxia15thefirstonewhoproposedthenotionofimage ghoweve what 5therelationshipbetweenimageandimage g?arethereany differencesexistinginthetwo?myanswer15definitelyyes. imagewasfirstintrodueedasaliteraryandaestheticeoneeptbyliu xie( )insouthemdynasties.inthe26theh terofcarvinga dr90 withaliterad iritualthinking() hes 5thatanoriginalpoetshouldcreateimage. that15tos imageinpoet alwaysfusethesensualobjectand abstracteoncept. laterintangdynast wangchangling(698 756)inhis ess themodesofpoet( )regardedimageasthecombination ofthesubjectiveandtheobjeetive( ).andinmingdynasty huyinglin( )pointedoutthe mostimportantrolethatimageaetsinpoetrywas: thecharmof classicalchinesepoe consistsintheimage(). besides imageworksaswellinv/estemliterary;thefamouspoet(2)inliterarytranslation it 5bettertoregardimage gratherthanindividualwordsorsentencesas theunitoftranslationstu. lefevereoneesaidthat: literarytranslation15toprojeettheimage ofaworkinanothereulture (lefevere:1992).fromhisassertioncould weleamboththegreatsignificaneetheimagegainsinliteraryworksand thefaetthatthebiggestdiffieultyofimagetransfereneeliesinthe eross cultureeommunieation.inaddition asanaesthetieobjectliterary textsbeartheholisticquality i.e.thegestaltquality.suehaqualitydoes notsimplymeanthesumoflinguisticcomponentsmeaningsand strueturesaswell o:it15anartisticunity.( ) m.a.thesisprocessoflmagegaetualization (jiangqiuxia:2002prefaee).henee thesuceessfulliterarytranslation demandsnotmerelydeeodingofthelinguistieinformationbutalso representingtheartisticimages50thatthetl(shortformoftarget languageinthethesis)readercouldreceivethesameaesthetie experieneeasslreader. anotherfoeusinimage gaetualization15thatit 5reasonableto eonsiderimage gastheunitoftranslation especiallyofliterary translation.thetraditiontranslationtheoryalwaysarguethatthe linguistieelements whetherwordphrase senteneeortext shouldbe takenastranslationunit whieh15definitelyinadequatetoimage transferenceforiteouldn tperfectlyreproducethegestaltqualitiessuch asmoodemotion etc.lefevere(1992)alsoclaimsthatwhentranslators asreaders saythattheyhaveread abook whattheymean15thatthey haveaeertainimage acertaincons etofthatbookintheirheads. onlyaftertheholisticessenceofliterarywork15digestedeanthe translationbegins andcansemanticdietion syntactiestrueturefollowin therightway 2.2stagesintheproeessoftheimage-gaetualization asillustratedabove processoftheimage gactualizationactually15 theproeessofimagetranslationinliterworks whichwoulddirectly influeneetheeffeetoftranslationversion.thereforewe 11haveadetailedm.athesis processofimage gaetualization reviewontheimage gae izationprocessanddivideitinto3stages: gestaltpereeption schemaformedandtransferenee. 2.2.1gestaltperception aeeordingtogestaltpsychology peoplealwaysfirsttakeagestalt pereeptionwhenobservinganything.that 5tosay theinitialimpression oftheobservedentityusuallyappeartobeanoutstandingwholerather thantheembeddedp 5.forimage itbearsnoexeeption. intheactualizingofimages thereaderst 5withperceptual proeesses whiehtriggersomelowlevellanguagecomprehension proeesses(e.g.proeedureforlexiealaeeess) andprogressesinaseriesof higherlevelproeesses(syntaetiesemantic andpragmatieproeedures respeetively) dfinallyformulatesagestaitmentaleonception.(jiang qiuxia 2002:172).besides intheviewofgestaltpsychologyof eognition perceptionsofp 5naturallyoruneonseiouslybeeome organized andeonsequentlytheeognitiveoraesthetiesubject experieneesgroupingsorman 1972)beforehegetsdowntothe deeperunderstandingofp 5.thiskindofgrouping15aetuallythe proeessof passivesynihesis which15produeedduetothe isomorphism ingestaltpsyehologysayingthatthereinheresimilarities inperceptualscheme.inotherwords whenareaderreadaliterarytext theindividualimagesemergesagainstthebaekgroundofapastimage mixingwiththeaesthetiequalities thenformedanoverallsurface m.a.thesisprocessofimage gactualization representation(zwaan 1994).gestaltperception15thusdevelopedto refertoapsychologiealmeehanisminaestheticcognitionthroughwhieh theaesthetieobjeetinitsunityandwithallitsmeaning.fromthis itean beseenthatthegestaltpereeption15theuneonseiousbutnecessary beginning.aithisstage themapofimageinreader 5mind15fusedbut vagueforit 5formedthroughreader-translators roughassemblingand groupmg. itwillgraduallybeeomeelearastheothermentaloperationintemipt inwhieh15rightlytheproblemwe 11dealwithinthenextsection. 2.2.2sehemaformed:similarschemaanddissimilarsehema thetermschema 15derivedfrompiaget 5theoryofcognition.he usedthewordtorefertotheeognitiveormentalstructuresbywhich individualsiniellectuallyadapttoandorgan theenvironment (wadsworth 1989:10).simplyspeakingit 5apictureinmindafterthe gestaltperception.nodoubt itgainstheholistiequalityaswell. however thesehemaforming15notmerelytheresultofgestalt pereeptionforanotherimportantmentalfacultyaetseffeetively.that15 imagination.it15theveryfaetorthatcanses50manydifferent eomprehensionsanddifferentsehemas.iserhaseverpointedout: asfar asliterature15eoneemed themeaningoftheliterarywork15notthesame astheformulatedaspeets butcanonlybebuiltupintheimagination m.a.thesis proeessofimage gactualization throughcontinualshiftingandreeiproealqualificationoftheseaspeets. themeaningoftheliteraryworkremainsrelatedtowhattheprintedtext says butitrequirestheereativeimaginationofthereadertoputitall together(iser 1978).thereforeit 5obviousthatoneofthefunetionsof imaginationshouldbesketehingtheunifiedsehemaoutoflinguistie s eture.ontheotherhand originalqualitiesalongwithmanyblank spotsremaininmindasthegestaltpereeptionproeeeding whiehjustthe 50called zzybeauty exists.onlybyreader-translator 5imagination eouldtheyfillintheblanksandfurthermoreexperieneetheaesthetie qualities.hithisway sehema15boththetranslator 5potentialmodeof cognitiveandaesthetieexperieneesinwhiehthegestaltqualities s