- 上一篇：德语论文《劳拉快跑》和《图雅的婚事》女性形象性格共同点
- 下一篇：浅析英语体育新闻的汉译策略
Modern Chinese scholar Yan Fu advocates three-character criteria in translation: faithfulness, expressiveness and elegance. These three criteria are still used by many translators. But with the improvement of academic level, more advanced and specific criteria are put forward by diligent specialists in their monographs. In the process of translation, Aesthetic subject and aesthetic object are involved which refer to translator and version respectively (Liu Miqing, 2005: 222-225). This theory is complemented: there are two aesthetic objects; they are original text and its translation, because translation involves two languages (Fu Zhongxuan, 1998: 6). In order to create a high quality translation,
translator must have the awareness of where beauty lies in the original text and the target version. The beauty of English lies in its sound, word, sentence and logic (Mao Ronggui, 2005: 111-181). The beauty in Chinese lies in form, sound, word, sentence and artistic conception (Mao Ronggui, 2005: 190-216).
To tell the truth, there is still argument in the criteria of judging whether a version is good or not due to the fact that people’s subject sensibility varies greatly. Another factor we must take into consideration is when and where the translator stays. That is to say, translation involves so many factors that it couldn’t be concluded completely. Translation aesthetics is not the only standard. But it is an important guide theory to create good translation and to appreciate.
1.2 Definition of Translation Aesthetics
Translation aesthetic is defined as following words: the research object of translation aesthetics in translation is aesthetic object which consists of original text and version. And the aesthetic subject includes the translator and the reader. The content of translation aesthetics also includes aesthetic taste activity, aesthetic judgment and aesthetic appreciation in translation. Besides, creative aesthetic reproduction in the process of translation should be added, too (Mao Ronggui, 2005: 7).
1.3 Aesthetic Feature of The Kite Runner and the Translator
The Kite Runner is the first novel of an Afghan American Khaled Hosseini. After publishing, it hits the market and wins great success and honour. This best-seller takes a good place in the most two authoritative book ranking lists in America-New York Times and Publishers Weekly for over 80 weeks. The most obvious aesthetic feature lies in its briefness and sooth. Unlike some famous magnificent production, The Kite Runner tells a story about growth and atonement through daily vocabularies and tones. Therefore, it is easy to follow the progress of emotions, comprehending an exotic complexion and inspiring readers’ resonance. These simple vocabularies and tones also create a feeling of reality and
exquisite and mould a once cowardly boy finally turning a person who gets rid of his weakness in character and undertakes responsibilities bravely.
The translator, Li Jihong, is born in 1980 in Guangdong Province. After graduating from Zhongshan University, he becomes a writer and translator. 《追风筝的人》is Li’s magnum opus in translation and wins great reputations for him.
2. Aesthetic Appreciation in Translation
2.1 Criteria of Beauty Appreciation in Translation
Liu Miqing is the first person who has made systematic conclusions about translation aesthetics theory. He holds the idea that the core matter of appreciation criteria in translation goes to build up dialectic notion and monolithic notion. These notions can be further explained in details into four concrete criteria. Firstly, relativity of appreciation criteria in translation must be set due to the fact that translation is languages switch, which cannot be porced from particular bilingual persity. Secondly, epoch feel should be taken into consideration. Epoch feel comes from epoch persity. It is safe to say that every age has its specially designated appreciation criteria and appreciation criteria advance and develop with times moving on. Thirdly, the idea of sociality should be set. The sense of beauty has bright inpiduality which varies tremendously. Translation, as a language switch activity, shouldn’t deviate from sociality. A version should better live up to wide readers’ expectation. The translator’s prejudice and preference holds back exertions. Fourthly, translation, unlike invention, is attached to the original text. Translators must be careful when they are dealing with appreciation reproduction, promising that version’s style and other features keep consistent with its original text (Liu Miqing, 2005: 235-237).