| Guided by the traditional Chinese theory of artistic ideorealm, this thesis sets out to make a tentative and systematic study on the transference of artistic ideorealm in the translation of classical Chinese poetry.The transference of artistic ideorealm in the translation of classical Chinese poetry is a very significant yet rather difficult subject to be explored. The difficulties mainly arise from the complexity of the connotations of artistic ideorealm. At present almost every scholar uses the term artistic ideorealm when discussing classical Chinese poetry translation, however, there is lack of a clear and common understanding about it so far. Different people have different opinions about it.Based on a tentative yet systematic exploration into the traditional Chinese theory of artistic ideorealm, the present thesis points out that artistic ideorealm consists in the totality of the artistic imagery characterized by a fusion of feelings with scenes plus the imagined images it triggers. The essence of ideorealm creation lies not simply in a fusion of feelings with scenes, but more in creating "images beyond images", which can provide readers with a vast imaginary sphere. Therefore, artistic ideorealm is actually completed by both the author and the reader. The reader's subjectivity is fully manifested in the process of ideorealm creation.On the basis of the above understanding, the present thesis makes a detailed analysis about subjective creativity of the translator-reader in the process of transference of artistic ideorealm. To transfer artistic ideorealm is in essence a re-creative art. The translator's subjective creativity in the process of transference of artistic ideorealm is mainly manifested in the following two aspects: on the onehand, the translator mentally reconstructs the overall aesthetic images of the original artistic ideorealm; on the other hand, he makes full use of his artistic expressing power to rewrite the artistic ideorealm in the target language.The present thesis also makes an elucidation about untranslatable elements in classical Chinese poetry translation from the following three aspects: firstly, classical Chinese poems often lack explicit subjects or points of view; secondly, Chinese poetic language is not burdened with numbers, cases, genders, tenses, etc.; thirdly, ancient Chinese poets could enjoy great freedom in juxtaposing images. As a result, it is admitted that in many cases one hundred percent transference of artistic ideorealm is totally impossible.However, it is these barriers that provide room for the translator to give a full play of his subjective creativity and do his utmost to reduce the loss of the beauty of artistic ideorealm to the minimal degree. On the basis of adequate understanding of connotations and features of artistic ideorealm, the present thesis proposes that the first and foremost thing for a translator to do is to grasp the fundamental aesthetic constituents of artistic ideorealm, namely, image, emotion, "images beyond images", and use idiomatic target language to recreate the original artistic ideorealm. Through the extensively practical and comparative analysis of the different versions of various classical Chinese poems, effective techniques and methods concerning the reproduction of the three aesthetic constituents of artistic ideorealm are discussed and summarized. Meanwhile, further requirements on the subjective role the translator plays in the transference of artistic ideorealm have been put forward. It is especially emphasized that the translator should take into consideration target readers' subjective creativity in understanding and enjoying the artistic ideorealm of the translated poems. As far as the transference of artistic ideorealm of a whole poem is concerned, it is also stressed that the reproduction of the three aestheticconstituents of artistic ideorealm must be aimed at transferring its aesthetic images as a harmonious whole.This study has not only clarified the fundamental aesthetic constituen... |
PDF Full Text Request