| This dissertation conducts translation studies into Xu Yuanchong's translation theory and practice. Xu Yuanchong translation studies belongs to the so-called translator-as-subject studies. Therefore, the dissertation starts with a bird's-eye view of the history of translator-as-subject studies in China. As it turns out, Xu Yuanchong's translation theory and practice are moving into the spotlight of China's translation studies or translator-as-subject studies. Most of the research, however, focuses on Xu Yuanchong's translations of classical Chinese poetry. Much remains to be explored in the field of Xu Yuanchong translation studies. For one thing, many other genres of literary texts like prose, dramas and novels translated by Xu Yuanchong still go unresearched. For another, different perspectives can be adopted in the research.In terms of prose, Xu Yuanchong has translated into English such Chinese classics as Lao Zi or Dao De Jing ( The Old Master Modernized---Laws Divine and Human, as used by Xu Yuanchong ) and Lun Yu or The Analects of Confucius ( Confucius Modernized, as used by Xu Yuanchong ). As for drama, Xu Yuanchong has translated into English, Xi Xiang Ji (Romance of the Western Bower, as used by Xu Yuanchong ) and into Chinese, All for Love by English dramatist John Dryden (1631-1700) . When it comes to novels, Xu Yuanchong has translated into Chinese many French novels and one English novel, Quentin Durward , a historical novel written by Walter Scott (1771-1832) in 1823. This dissertation focuses on the English versions of two Chinese classics, namely, Xi Xiang Ji (Romance of the Western Bower ) and Lun Yu ( Confucius Modernized ) offered by Xu Yuanchong.The dissertation undertakes Xu Yuanchong translation studies from the perspective of aesthetic translation criticism. Since many of his terms are to be used in later discussions of the dissertation, a brief introduction to Xu Yuanchong's translation theory is given at the very beginning. The research is then initiated into aesthetic translation criticism by discussing Xu Yuanchong's translation practice in relation to cultural translation. Next comes a probe into some theoretical issues involving aesthetic translation criticism and Xu Yuanchong's translation theory. Research is also made into the application of Xu Yuanchong's translation theory to aesthetic translation criticism. The problems researched are listed below:1. How is cultural translation approached in Xu Yuanchong's translation practice? Is there any room for improvement in terms of Xu Yuanchong's translation practice?2. Can"Three Beauties"as illustrated in Xu Yuanchong's translation theory be adopted as criteria in aesthetic translation criticism? How can aesthetic values of a translation be realized?3. Are there any models in aesthetic translation criticism? How to apply Xu Yuanchong's translation theory to aesthetic translation criticism?4. What's the overall quality assessment of the English versions of two Chinese classics---Xi Xiang Ji (Romance of the Western Bower ) and Lun Yu ( Confucius Modernized ) created by Xu Yuanchong?The following are conclusions of this dissertation:1. Xu Yuanchong's translation practice involves a flexible and diversified approach to cultural translation. Over the past six decades, Xu Yuanchong has translated huge volumes of Chinese cultural classics such as Tang poems, Song lyrics and Yuan songs and his translations have won wide acclaim among readers both at home and abroad. As for his improper handling of certain blank-leaving approaches involved in Chinese literary classics, this paper holds that literary forms are an indispensable part of meaning, constituting a large portion of aesthetic values. Therefore, to convey the literariness of the original, it is better to keep the blank-leaving approaches of the original instead of making alterations as Xu Yuanchong did in his translation practice. Only in this way could the aim of cultural exchange be achieved via cultural translation.2. The"Three Beauties"as illustrated in Xu Yuanchong's translation theory can be adopted as criteria in aesthetic translation criticism. Scholars in China have proposed many criteria for translation criticism. But they usually belong to the so-called criteria of criteria. In other words, they are not operational criteria in translation criticism but only guiding principles governing the formulation of criteria. However, the"Three Beauties"as advocated in Xu Yuanchong's translation theory are not only operational but concerned with aesthetics as well. The aesthetic values of a translation are the objects of aesthetic translation criticism. Since different critics have different aesthetic tastes and preferences, beauty is in the eye of the beholder. So vast a discrepancy in the critical opinions of the aesthetic values of a certain translation renders it impossible to realize the aesthetic values thereof. Only through constant communication and argumentation between aesthetic subjects of translation criticism will consensus be reached in aesthetic translation criticism and ultimately the aesthetic values of a translation be realized. Such is the consensus theory of truth concerning aesthetic translation criticism3. A model is proposed for aesthetic translation criticism---Xu Yuanchong Model. Three examples are given to illustrate the application of Xu Yuanchong Model to aesthetic translation criticism from the perspective of English-Chinese translation and vice versa. The theoretical foundation of Xu Yuanchong Model is Xu Yuanchong's translation theory. Hence, to illustrate how to apply Xu Yuanchong Model to aesthetic translation criticism illustrates to a certain degree how to apply Xu Yuanchong's translation theory thereto.4. On the whole, Xu Yuanchong's English version of Xi Xiang Ji (Romance of the Western Bower) is quite good in the transformation of beauty in sound and form. As for the representation of beauty in meaning, much still leaves to be desired in some cases while in others, the beauty of the target text rivals or even surpasses that of the original. In terms of Lun Yu, Xu Yuanchong's version Confucius Modernized owes a lot to James Legge's version The Analects of Confucius. In many cases, Xu Yuanchong simply adopts or adapts James Legge's translations. Compared with James Legge's version, Xu Yuanchong has made one important improvement---representing the colloquiality of the original to the maximum.This paper takes a perspective of aesthetic translation criticism on Xu Yuanchong translation studies, probing a series of theoretical issues regarding Xu Yuanchong's translation theory and aesthetic translation criticism. The consensus theory of truth concerning aesthetic translation criticism is put forward---a theoretical breakthrough in translation criticism studies. The said consensus theory of truth can be defined as follows: The aesthetic values of a translation are the objects of aesthetic translation criticism while the realization of the aesthetic values thereof depends on the consensus yet to be reached by aesthetic subjects of translation criticism. The paper argues that the"Three Beauties"as illustrated in Xu Yuanchong's translation theory can be adopted as criteria in aesthetic translation criticism. As potential truth of consensus, Xu Yuanchong's translation theory is likely to find wide applications. This paper is also the first to propose a model for aesthetic translation criticism--- Xu Yuanchong Model and gives examples to illustrate its application in aesthetic translation criticism. Research is made into a series of theoretical issues regarding Xu Yuanchong's translation theory and aesthetic translation criticism but not enough. For instance, what factors block the consensus on the part of critics in aesthetic translation criticism? As a model in aesthetic translation criticism, can Xu Yuanchong Model be improved and how? How is a text selected for translation as far as Xu Yuanchong is concerned? What impact does the socio-political atmosphere have upon that selection? Such issues involve exploration in the days to come.
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