英語翻譯方向開題報告

1、中村串端快孵帝畢業(yè)設計（論文）開題報告題 目 翻譯美學視角下中國古詩詞英譯的審美再現(xiàn)以李煜詩詞為例姓 名至蒼學 號 20099371系 部外語系專業(yè)年級 英語冬加2009K指導教師李小霞2012年11月06日開題報告填寫要求1 開題報告（含“文獻綜述”）作為畢業(yè)設計（論文）答辯委員會對學生答辯資格審查的依據(jù)材料之一。此報告應在指導教師指導下，由學生在畢業(yè)設計（論文）工作前期內完成，經(jīng)指導教師簽署意見及所在專業(yè)/系審查后生效；2 開題報告內容必須用黑墨水筆工整書寫或按教務部統(tǒng)一設 計 的 電 子 文 檔 格 式（可 從 網(wǎng)頁上下載）打印，禁止打印在其它紙上后剪貼，完成后應及時交給指導教師簽署意見

2、；3 “文獻綜述”應按論文的格式成文，并直接書寫（或打?。┰诒鹃_題報告第一欄目內，學生寫文獻綜述的參考文獻應不少于 15 篇；4有關年月日等日期，按照如“2011 年 10 月 18 日”方式填寫。5、電子文檔格式要求用小4 號宋體，1.5倍行距。畢業(yè)設計（論文）開題報告1.結合畢業(yè)設計（論文）課題情況，根據(jù)所查閱的文獻資料，每人撰寫2000字左右的開題報告（包括研究進展，選題依據(jù)、目的、意義）Aesthetic Representation inaTslation of Chinese Poems and Lyrics from the PerspectivnOaTon Aesthetics

3、-ACase Study of LiiYs Poems and Lyrics1. Literature Reviewversiand cand arToday with the global development of culture and literature,more and more literary translate( applied to cultural exchange, however, as a branch of literary translation, has its unique charms especially the translation of Chin

4、ese poems and lyrics. This thesis aims to do some researches Yu's poems and lyrics English versions from the perspective of translation aesthetics.1.1 The Theoretical Basis of the ResearchChinese poetry has always been an aesthetic category. Poetry is a kind of literary genre mainly concerning a

5、ffection, 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 fa as the English versions ar

6、e 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 Yu's poem and lyric, the most important thing is faithfulness and equivalence in form and also manages to find words which

7、fit both the content and the rhyme, all these contribute much spread Chinese culture abroad (Jiang Li, 2006: 2). Besides, Xu Zhongjie's work 100 Chinese Ci-poems in English Versepublish in 1986, aimed at putting beautiful rhyme into target language with explanation and enlargement, so that reade

8、rs can understand better. While Xu Yuanchong'Selected Poems of Li YUn 2006, his translated poems is well accepted by foreigners and jus: 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 i

9、n 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 subordin

10、ated 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

11、" 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

12、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 a

13、nd 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 don't know how to translate, and that nobody does. It is an impossible but necessary

14、 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). What's 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

15、 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 translatolog

16、y,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 stan

17、dards, and the creative aesthetic representationin 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

18、 into Chinese. The famous saying by Chinese philosopher Laocius that "the graceful speeches in translation are not faithful, but failthful speeches not graceful"(引自老子道德經(jīng)第 81 章：“信言不 美，美言不信“ )is frequently cited in translation theories. Kumarajiva promotes elegance ir expression besides accu

19、racy, 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 "

20、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

21、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

22、 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

23、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 i n Practi cal Tr ansl ati on Aes

24、thet i cs. L i u M i qi ng (1 995) publ i shedhis 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 for

25、ward 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 literatu

26、re 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 translati

27、on 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

28、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, 199

29、3:217-247), 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

30、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 mu

31、st 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

32、 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 rese

33、arch is to analyze the status quo of the English versions about Li Yu's 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 n

34、ew subject for all the translators.In order to transfer theaesthetic 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 th

35、eories both in China and in the west,tha is translational aesthetics.2.本課題要研究或解決的問題和擬采用的研究手段(途徑)：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 genera

36、l introduction of them which includes the development, main means,rulers and merits of the theory,and the status quo of the theory.in(2) The second issue of the dissertation is to give an introduction of aesthetic representation the translation of ancient Chinese poetry, and state the relation betwe

37、en English versions of Chinese poems and lyrics (especially Li Yu's version) and aesthetic representation.(3) The third issue of the dissertation is to apply the strategies of aesthetic representation to analyze Li Yu's poems and lyrics from the perspective of translation aesthetics.2.2 Meas

38、ures 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 Yu's poems and lyrics(4) Collecting and analyzing abundant examples of the different English versions Li Yu's poems an

39、d lyrics from the perspective of aesthetic representation.OutlineAbstractIntroduction1. An Overview of Translation Aesthetics1.1 Origin of Translation Aesthetics1.2 Development of Translation Aesthetics1.3 Translation Aesthetics and Aesthetic Representation2. Chinese Ancient Poetry Translation and Aesthetic Representation2.1 Development of Chinese Ancient Poetry Translation2.2 Aesthetic Object & Subject in Poetry Translation2.3 Main Strategies of Aesthetic Representa