On Imagery As The Unit Of Translation In Chinese Classical Poetry Translation

The unit of translation (UT) is the smallest utterance segment in which the cohesion of the signs is such that they do not have to be translated separately. In other words, UT is the minimal language unit in the source text that corresponds to an equivalent in the target text. The problem of UT ranks among the most complicated problems of translation theories. As far as it is concerned, different theorists hold different, sometimes even diametrically opposed views. While some theorists reject the very existence of this problem, others argue that it is an undeniable linguistic reality of considerable significance in translating that no translator can evade. As for the division of UT and its functions, translation theorists hold diverse opinions. The division of UT is generally focused on prose (including non-poetic literature) and few chapters are devoted to the problem of UT in poetry translation, especially in Chinese classical poetry translation. The author, by synthesizing the different theories in this respect, holds that the problem of UT is an objective and operable reality in poetry translation. Taking this as a point of departure, the author investigates the origin of the problem, the different ways of dividing UT and traces its development by concluding that the division and establishment of UT are a dynamic process. From the point of view of literary phenomenology, the author argues that poetry as a literary genre contains within itself aesthetic factors apart from the linguistic componential factors, therefore poetry translation takes two forms: the experiencing of aesthetic factors; and the representation of aesthetic factors, that is, there is a transformation progression in poetry translation. UT in Chinese classical poetry translation may range from the word, (e.g. Ezra Pound's translation of Li Bai is a case in point here) the line, and the stanza to the most fundamental unit--imagery. The transformation of imagery, based on a holistic entity, does not have the unicity, staticness and mechanicality found inthe word, the line, the stanza and the text or discourse. Consequently imagery as a UT can offer a wider scope for the translator's translating activities in tackling Chinese classical poetry. This paper consists of four chapters. Chapter One is a brief historical overview of the study of UT. The author attempts to trace the origin of the problem, to retrospect the different ways of dividing UT both abroad and at home and how this concept is applied to the translation of poetry. In Chapter Two, the division of UT in Chinese classical poetry translation is discussed and assessed with a conclusion that the most commonly recognized UTs-the word, the line, the stanza and the text (or discourse) are insufficient to solve the unique contradictions in Chinese classical poetry translation. In Chapter Three, a logic development of Chapter Two, the concept of imagery is etymologically discussed and argued to be the basic UT with high operability in Chinese classical poetry translation. The author also makes a comparison about its connotations and characteristics between the western context and the Chinese context. The translatability of imagery as a UT is discussed. Concrete strategies are presented in Chapter Four and it is also pointed out that a dynamic principle should be followed in establishing translation strategies in Chinese classical poetry translation. In the concluded part, it is stated that the establishment of UT is a dynamic process and that purely linguistic theories and literary theories should be organically combined in the study of the problem of UT, so that a reliable model can be established to provide more constructive guidance for the translation of Chinese classical poetry.