1、 本科毕业论文 （ 20 届） 英语 从翻译美学角度看王科一的傲慢与偏见译本 A Study on the Chinese Translation of Pride and Prejudice from the Translation Aesthetic Perspective： A Case Study on Wang Keyis Version II 诚 信 声 明 我声明，所呈交的论文 (设计 )是本人在老师指导下进行的研究工作及取得的研究成果。据我查证，除了文中特别加以标注和致谢的地 方外，论文 (设计 )中不包含其他人已经发表或撰写过的研究成果，也不包含为获得 或其他教育机构的学位或
2、证书而使用过的材料。我承诺，论文 (设计 )中的所有内容均真实、可信。 论文 (设计 )作者签名： 签名日期： 年 月 日 授 权 声 明 学校有权保留送交论文（设计）的原件，允许论文（设计）被查阅和借阅，学校可以公布论文（设计）的全部或部分内容，可以影印、缩印或其他复制手段保存论文（设计），学校必须严格按照授权对论文 (设计 )进行处理，不得超越授权对论文（设计）进 行任意处置。 论文 (设计 )作者签名： 签名日期： 年 月 日 I 摘要 译学与美学的结合渊源已久，随着对翻译美学研究的更多关注，模糊美学这一年轻的分支也获得很大的发展并逐渐系统化。中国特色文学主要趋于 以神驭形 ，语言含蓄隽
3、永、高度凝练、意象丰富、意境深远 。 本文以刘宓庆教授的翻译美学导论与毛荣贵教授的翻译美学为理论依据，以模糊美为切入点， 从审美客体、审美主体两方面，结合分析王科一的傲慢与偏见译本 进行分析 ，旨期待美学与翻译联姻的更加和谐。 关键 词 ：翻译美学；模糊美；傲慢与偏见 II Abstract Aesthetics has a long history of integration with translation, and with more attention paid to Translation Aesthetics, Fuzzy Aesthetics， as a young branc
4、h discipline 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 illustrated by Fuzzy Aesthetics in two dimensions-translation aesthetic subj
5、ect and object. With the reference books of contemporary Translation Aesthetic theories, in particular, Liu Miqings An Introduction to Translation Aesthetics and Mao Rongguis Translation Aesthetics, this thesis conducts an analysis of fuzzy beauty in Wangs translated version of Pride and Prejudice,
6、aiming to keep the integration of Aesthetics and translation in a more harmonious way. Key words: Translation Aesthetics; fuzzy beauty; Pride and Prejudice III Contents Abstract . II 1 Introduction . 1 2 Aesthetics and Translation . 2 2.1 The Concepts of Translation Aesthetics and Fuzzy Aesthetics .
7、 2 2.2 The Relation between Aesthetics and Translation . 3 3 An Analysis of Wang Keyis (Wangs) Version from the Perspective of Fuzzy Aesthetics. 4 3.1 The Translation Aesthetic Object . 4 3.1.1 Irony . 5 3.1.2 Humor . 7 3.2 The Translation Aesthetic Subject . 9 4 Conclusion . 11 Bibliography . 12 Ac
8、knowledgements . 13 1 1 Introduction Literature, the results of generations of acquired wisdom, 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 theor
9、etical and practical point of view, translation theory has always been inseparable from literature. Previous literary researchers have explored how to apply aesthetic theories into literature translation from a translation aesthetic perspective. The fuzzy beauty is emphasized in the study of poetry
10、while the aesthetic criteria are perfectly manifested in literary works. Xie Hanxing in his article tells us how to transfer the existing images as a whole and sufficiently takes use of fuzziness. (谢寒星 , 2008) And literary works covering aesthetic translation theories such as On Yang Bis Translation
11、 of Vanity: An Aesthetic Perspective give the author great enlightenment as to use Translation Aesthetics. (陈婷 , 2010; 胡婷 , 2010) The Chinese version of Pride and Prejudice by Wang Keyi has enjoyed a great popularity since it was published in 1980. Many readers tend to favor the traditional taste of
12、 its beautiful lines and artistic conception here and there in the book. Currently the studies chiefly focus on the aspects of marriage attitude, the social background, translation technique, etc. The aesthetic value is seldom touched upon. The author has read some theories about contemporary Transl
13、ation Aesthetics, particularly by Mao Ronggui and Liu Miqing. Combined with Wangs translation of Pride and Prejudice and having a good understanding of them, we can get enlightenment from western translation theories and develop those of our own. This thesis focuses on the fuzzy beauty as the aesthe
14、tic criteria so as to probe into the phenomenon of passing the artistic conception and keep the integration of Aesthetics and translation in a more harmonious way. In the long run, it can not only stimulate the moral and cultural accomplishments of translator, but also promote the culture exchange,
15、which is deemed as a part of a nations property. 2 2 Aesthetics and Translation 2.1 The Concepts of Translation Aesthetics and Fuzzy Aesthetics Contemporary Translation Aesthetics is a comprehensive course integrated of both translation and aesthetics. It applies basic aesthetic theories to the tran
16、slation arena, which can be divided into several modules, such as poetry, 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 translator) t
17、ransfers source language (SL) into target language (TL), including four procedures the translators comprehension, transformation, improvement and, the most important aspect, representation. According to Fang Mengzhi, with the application of views of Aesthetics, the Translation Aesthetics deals with
18、the scientificity and artistry of translation. Fundamental theories of Aesthetics are employed to propose different criteria and analysis, explain and solve aesthetic problems during inter-language transference. With a full understanding of translation aesthetic constituents of the object and the dy
19、namic role of the subject, translators can better reveal the relationship between aesthetic subject and object in a more clear way(毛荣贵 , 2005:7) . In Professor Mao Rongguis book, the fuzziness is specially termed in an aesthetic aspect. It leads readers to digest independently, contemplate deeply, i
20、magine 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-reaching outline of the content, such as achieving the effect of euphemism, humor and literary ta
21、lent. According to Professor Liu Miqings theory, the aesthetics can be analyzed in three dimensions 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, wh
22、ich has a far-reaching 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 independent thinking, initiative imagination and the critical and exploratory spirit. As the Chinese
23、ancient saying goes,书不尽言，言不尽意 , which means that there is far more connotation implied than expressed. To be specific, although language is the vehicle of culture and contains rich cultural connotation, it can not convey all the writers thoughts and deep feelings exactly. Readers need to ponder for
24、a while to digest what the author wants to express. One thousand readers have one thousand Hamlets 3 and whether great minds think alike just leave for time to testify. 2.2 The Relation between Aesthetics and Translation Aesthetics has not become an independent or formal discipline until 1750 when t
25、he Germany Alexander Gottlieb Baumgarten first used the word in his aesthetic writings. Later, it was gradually accepted by the Sinology field. The contemporary Chinese Translation Aesthetics has absorbed the essence of Western theories and developed the traditional translation methods as well, form
26、ing 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 subject, and at some point also young as well. To be specific, the Chinese aesthetic thought has a h
27、istory of more than two thousand years, but the history as a new subject only has less than three hundred years. The creation of every literature is based on the principle 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 wo
28、rd, thus literature translation, as a sort of literature and art, is always accompanied 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 conv
29、eyed a professional aesthetic feeling of beauty between two languages. 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 small word to the whole context such as the
30、 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. Although the forms of beauty differ from language to language, the differences wont be an obstruction to convey the beauty in litera
31、ture translation since there exists many common points in aesthetic features and aesthetic delights, which are expressed through these forms. (毛荣贵 , 2005:248). The same aesthetic features and delights are one of the basic factors of translation aesthetic activities, and so are the translation aesthe
32、tic theories. The reason why fuzziness is a proper way to express the authors idea can be illustrated by following arguments. In the first place, it is widely known that aesthetics has a long history with philosophy and as a result, the translation aesthetics inherits its partial characteristics- sp
33、eculative. Philosophical aesthetics pays more attention to the forms of image in a macroscopic view 4 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 diff
34、erent versions. 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 aesthetics. On the contrary, Chinese language is expressed in a perceptive way, giving priority
35、 to the inner beauty. That is to say, Chinese people tend to externalize the beauty and put the concept in daily life and nature, pursuing the “Nature and Humanity“ ideology. Surely the aesthetic outcome is restricted by the aesthetic experience, literature artistic accomplishment etcetera of the tr
36、anslation aesthetic subjects. The result varies according to different aesthetic subjects. Therefore, fuzziness is a feasible way to transmit the deep meaning of the original work. 3 An Analysis of Wang Keyis (Wangs) Version from the Perspective of Fuzzy Aesthetics. Wang Keyi is a superb talent as a
37、 literature translator. His translation of pride and prejudice is deemed as the most classical one. Although readers 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
38、original text attains. The following content discusses some typical paragraphs of the source text from the perspective of Translation Aesthetics. 3.1 The Translation Aesthetic Object Translation aesthetic object refers to those objects that have aesthetic value whereby people can be satisfied from a
39、esthetic standards and sensibilities. It includes formal system and informal system. The former can give readers a concrete image 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 fuzzy, indefinite and nonquantitative, and is often referred to as emotion, image and symbol in literature. In the analysis of Wangs version, some typical forms to express the proper use of
