A Tentative Study Of English Transfer Of Fuzzy Beauty In Classical Chinese Poetry: From A Perspective Of Image-G Actualization

This paper deals with a tentative study of English transfer of fuzzy beauty in classical Chinese poetry from a perspective of aesthetic image-G actualization. The purpose is to test the usability of the theory to the studies of fuzzy beauty transfer, and fill in a gap in the previous studies in this field.The theory of image-G actualization is proposed by Jiang Qiuxia (姜秋霞) in her book Aesthetic Progression In Literary Translation: Image-G Actualization. The main points include: (1) image-gestalt is an image in the gestalt sense, which is a universal property existing in a literary text; (2) literary translation involves a process of aesthetic image-G actualization; (3) the internal structure of any image-G is a kind of scenes-and-frames integration; (4) aesthetically, successful literary translation resides in successful image-G actualization; (5) an image-based literary translation model is as such: Phase I: source text comprehension ?a mental actualization of image-G; Phase II: target text creation ?a verbal actualization of image-G.The paper first points out that classical Chinese poetry possesses a kind of fuzzy beauty, and then gives an introduction to the theory of image-G actualization. After an analysis of the affinity between the theory and English transfer of fuzzy beauty, i.e. (1) fuzzy beauty is a fuzzy image-G; (2) image actualization is indispensable to poetry translation; (3) as a theory of literary translation, the theory of image-G actualization is supposed to be useful to poetry translation, the paper begins to investigate fuzzy beauty transfer in the light of the theory of image-G actualization with three aspects included: a. criticism of fuzzy beauty transfer, b. untranslatability of fuzzy beauty, c. translators. And in the end, the limitation of the theory is also pointed out.The conclusion is: fuzzy beauty transfer is worth studying, and the theory of image-G actualization is useful to the study of it. First, it is useful to translationcriticism; secondly, it is useful to the study of untranslatability; thirdly, it is enlightening for translators and the study of translators as well.The present study is significant in several ways. Microscopically, 1) the usability of the theory to translation criticism broadens the area of criticism on the one hand, and urges us to reconsider the standard of aesthetic equivalence on the other hand; 2) its usability to the study of untranslatability of fuzzy beauty opens for us a new field of vision, in which the issue of untranslatability can be approached from the angle of aesthetic image-G actualization; 3) the enlightening of the theory for translators may inspire them to work hard on fuzzy image-G actualization, and moreover, the light it sheds on the study of translators as translation subjectivity enriches the translation studies in this area. Macroscopically, the significance of my study includes the following points: first, it is a pioneering attempt in the sense that the theory of image-G actualization is linked to the studies of classical Chinese poetry translation; secondly, it is an echo to the current tendency that the translation studies of classical Chinese poetry is done in the light of modern theories; thirdly, the great value and the everlasting charm of classical Chinese poetry makes every translation attempt at it worthwhile and every serious study of the translation meritorious.