英语翻译方向开题报告.doc

毕业设计（论文）开题报告题 目 翻译美学视角下中国古诗词英译的审美再现 以李煜诗词为例 姓 名 李芬 学 号 20099371 系 部 外语系 专业年级 英语专业2009级 指导教师 李小霞 2012年11月06日开题报告填写要求1开题报告（含“文献综述”）作为毕业设计（论文）答辩委员会对学生答辩资格审查的依据材料之一。此报告应在指导教师指导下，由学生在毕业设计（论文）工作前期内完成，经指导教师签署意见及所在专业系审查后生效；2开题报告内容必须用黑墨水笔工整书写或按教务部统一设计的电子文档格式 (可从/jyjxindex.aspx?CatID=102网页上下载）打印，禁止打印在其它纸上后剪贴，完成后应及时交给指导教师签署意见；3“文献综述”应按论文的格式成文，并直接书写（或打印）在本开题报告第一栏目内，学生写文献综述的参考文献应不少于15篇；4有关年月日等日期，按照如“2011年10月18日”方式填写。5、电子文档格式要求用小4号宋体，1.5倍行距。 毕 业 设 计（论 文）开 题 报 告1结合毕业设计（论文）课题情况，根据所查阅的文献资料，每人撰写2000字左右的开题报告（包括研究进展，选题依据、目的、意义）Aesthetic Representation in Translation of Chinese Poems and Lyrics from the Perspective of Translation Aesthetics-A Case Study of Li Yus Poems and Lyrics1. Literature ReviewToday, with the global development of culture and literature,more and more literary translated versions are applied to cultural exchange, however, as a branch of literary translation, has its unique charms and characters, especially the translation of Chinese poems and lyrics. This thesis aims to do some researches and analysis of Li Yus poems and lyrics English versions from the perspective of translation aesthetics. 1.1 The Theoretical Basis of the Research Chinese poetry has always been an aesthetic category. Poetry is a kind of literary genre mainly concerning affection, which mirror the social life with lyric way intensively, express the thoughts and feelings with rich imagination, rhythmical language and arranged pattern. Poetry is also the oldest and the most fundamental form of literature (Hu Bin. Liu Lizhen, 2011: 49). As far as the English versions are concerned in this thesis, it is important for us to be familiar with English poetry versions translated by outstanding Chinese translators. Gong Jinghao thinks that to Li Yus poem and lyric, the most important thing is faithfulness and equivalence in form and also manages to find words which fit both the content and the rhyme, all these contribute much to spread Chinese culture abroad (Jiang Li, 2006: 2). Besides, Xu Zhongjies work 100 Chinese Ci-poems in English Verse publish in 1986, aimed at putting beautiful rhyme into target language with explanation and enlargement, so that readers can understand better. While Xu Yuanchongs Selected Poems of Li Yu in 2006, his translated poems is well accepted by foreigners and just like written in the foreign language by the same author. Xu Yuanchong advocates the principle of three beauties:beauty in sound, beauty in meaning and beauty in form. In the western world, the aesthetics enters the field of translation studies at an early stage. Alexander Gottlieb Baumgarten, a classical philosopher,proposed aesthetics firstly in his work Aesthetics published in 1750, which symbolized the birth of aesthetics, no longer subordinated to the theory of philosophy, literature and art, but evolved into an independent discipline gradually. While Shirley Chew and Alistair Stead, published the work Translating Life Studies in Translation Aesthetics in 1999. These two scholars first presented the translation aesthetics theory and stated description and research in details. Translation is a cross-cultural and cross-language exchange activity.With regard to its essence,it mainly gives expression to the relationship within subject-object-subject. Thus, among numerous human science, with the combination of aesthetics and translation, there comes into being the translation aesthetics.As for poetry, Robert Frost regards poetry as that which is lost in translation (Baker, 1998:170), which is often cited to highlight of poetry translation. About the ancient Chinese poetry, many translators both at home and abroad have got great achievement that is universally acknowledged. Therefore, the translatability of the ancient Chinese poetry is undoubted. W.S. Merwin says, I continue in the belief, you know that I dont know how to translate, and that nobody does. It is an impossible but necessary process, there is no perfect way to do it, and much of it must be found for each particular poem as we go (Baker, 1998:176). Whats more, A.F. Tytler puts forward three basic principles, and comes to the conclusion that a good translation should be one that in which the merit of the original work is so completely transfused into another language, as to be as distinctly apprehended, and as strongly felt, by a native of the country to which that language belongs, as it is by those who speak the language of the original work(Bell, 2001:11).In addition to Chinese translatology, A Dictionary of Translation Studies, which defines translation aesthetics as The research object of translation aesthetics is the aesthetic object (the original, version), aesthetics subject (translator, reader), aesthetic activity, aesthetic judgement, aesthetic appreciation, aesthetic standards, and the creative aesthetic representation in the translation process, and so on.(Fang Mengzhi,2005:296). As for the history of Chinese traditional translation theory, it has deeply been rooted in aesthetics since ancient times when for the first time the Buddhist scripture was translated into Chinese. The famous saying by Chinese philosopher Laocius that the graceful speeches in translation are not faithful, but failthful speeches not graceful （引自老子道德经第 81 章：“信言不美，美言不信”）is frequently cited in translation theories. Kumarajiva promotes elegance in expression besides accuracy, which has vital influence on ancient Chinese poetry. After experiencing a plain period, in 19th century, with the spread of the western thoughts and technology, literature translation became again prosperous in China. In 1986, Yan Fu presented his triple principle of translation, namely faithfulness, expressiveness, and elegance, in which elegance has aroused many controversies in China. Scholars like Lin Yutang and Xu Yuanchong have further extend the meaning of elegance in an aesthetical way emphasizing the aesthetic elements in translation and made contributions to the studies of Translation Aesthetics. Lu Xun emphasizes faithfulness to the original for the benefit of readers aesthetic expectations.(Zhang Li, 2009: 4). Fu Lei, basing on Chinese aesthetic, summarizes that as a product, translating is like imitating a picture. What is more important is resemblance in form (Luo Xinzhang, 1984:558). Qian Zhongshu believes in transmigration, which attaches great importance to conveying the aesthetic value of the ST(source language). Inspired by traditional translation theories, especially Chinese aesthetics, many translation theorists in China regard Translation on Aesthetics as a research subject at the end of 20th century. Fu Zhongxuan (1993) studies the problems of aesthetic object, aesthetic subject, aesthetic activity, aesthetic standard and aesthetic representation etc in Practical Translation Aesthetics. Liu Miqing (1995) publishedhis book An Introduction to Translation Aesthetics, in which he discussed the aesthetic origins of translation theories,aesthetic psychology, aesthetic representation etc. Xu Yuanchong(2006) published his work The Art of Translation, in which he put forward the school of Chinese literature translation theory, including the theory of three beauties, the theory of three transformations, the theory of making use of advantages etc. Aesthetic representation, as a branch under the translation aesthetics, which has important effect on literature translation. Researches on aesthetic representation and representation means in literary translation are flourishing, which range from translation of poetry to translation of essays, idioms, proverbs, novels and so forth. Furthermore, how to represent the beauty at all levels in literary translation is a major concern to them, such as beauty in sound, beauty in style, beauty in rhetoric, beauty in artistic conception and etc (Zhang Li, 2009:5). Thus, aesthetic representation proves to be the most significant study object of translation aesthetics. However, at present, academics have not yet reached a consensus on the classification of translation aesthetic representation. From the point of view of specific skills, some scholars put forward the aesthetic representation means such as amplification, omission, exteiasion, substitution, negation, combination, division etc (Fu Zhongxuan, 1993:217-247), while others from the perspective of guiding principle and present some measures, including imitation, rebuild, generalization and concretization, implicit and explicit conversion, amplifying and contracting conversion etc (Liu Miqing, 1995:309-343). As poetry translation is unanimously held to be the most difficult and demanding form of literary translation due to the subtlety and delicacy in the language of poetry and the differences between the source language and the target language (Yang Xianyan, 2009:1). Therefore, in order to arrive at a better translation, the translator must strive to represent the original aesthetic information to the maximum by applying appropriate aesthetic representation means and enable the reader to obtain the similar aesthetic feelings. Hence, there comes to a viewpoint that in literature translation, what demand aesthetic representation to reproduce are the affective beauty of the original content, the formal beauty of the original language, the pattern beauty of the original rhetoric, the rhythmic beauty of the original rhyme and the structure beauty of the original chapter (Dang Zhengsheng, 2009:97). The purpose of the research is to analyze the status quo of the English versions about Li Yus poems and lyrics from the perspective of aesthetic representation from the translation aesthetics.Aesthetics has a long history both in China and in the west,but in the pespective of aesthetic representation, it is still a new subject for all the translators.In order to transfer the aesthetic value of the ancient Chinese poetry into English,we should make further study in the relationship between translation and aesthetics and try to find proper ways to translate the ancient Chinese poetry on the basis of translation theories both in China and in the west,that is translational aesthetics.2. 本课题要研究或解决的问题和拟采用的研究手段（途径）：2.1 Issues to be TakenThree issues will be studied in this dissertation.(1) The first issue of the dissertation is to state what translation aesthetics and aesthetic representation are, and give a general introduction of them which includes the development, main means,rulers and merits of the theory,and the status quo of the theory.(2) The second issue of the dissertation is to give an introduction of aesthetic representation in the translation of ancient Chinese poetry, and state the relation between English versions of Chinese poems and lyrics (especially Li Yus version) and aesthetic representation.(3) The third issue of the dissertation is to apply the strategies of aesthetic representation to analyze Li Yus poems and lyrics from the perspective of translation aesthetics.2.2 Measures to be Taken(1) Being familiar with translation aesthetics(2) Being familiar with representation aesthetic means(3) Being familiar with the different English versions Li Yus poems and lyrics(4) Collecting and analyzing abundant examples of the different English versions Li Yus poems and lyrics from the perspective of aesthetic representation.OutlineAbstract Introduction 1. An Overview of Translation Aesthetics 1.1 Origin of Translation Aesthetics 1.2 Development of Translation Aesthetics 1.3 Translation Aesthetics and Aesthetic Representation2. Chinese Ancient Poetry Translation and Aesthetic Representation 2.1 Development of Chinese Ancient Poetry Translation 2.2 Aesthetic Object & Subject in Poetry Translation 2.3 Main Strategies of Aesthetic Representation 3. Aesthetic Representation in Li Yus Poems and Lyrics Tra