On The Recreation Of The Beauty Of The Chinese Language In The C-E Translation Of Hong Lou Meng: A Fuzzy Aesthetics Perspective

With the development of fuzzy aesthetics, the concept of fuzzybeauty is adopted and becomes the main object of fuzzy aestheticsresearch without anyone being certain of its main characteristics. Chineseclassical literature embodies abundant features of fuzzy beauty.Translation is a transformation of aesthetic behavior and different modesof thinking, rather than a mere linguistic transformation.Fuzziness is one of the natural characteristics of literary languageand especially of Chinese classical literary language. The fuzzyexpressions in language reflect the fuzzy beauty; the appreciation ofChinese classical literature also reflects the fuzziness of beautyappreciation activities. This kind of fuzzy beauty has aroused theinterest of translation researchers. However, the fuzzy beauty appreciationin Chinese classical literature and its recreation in translation fromChinese into English have always run short of systematic research andtheoretical guidance. The publication of Fuzzy Aesthetics at the end of thetwentieth century therefore, provided a theoretical guidance for it and theresearch of fuzzy aesthetics have broken through the boundaries oftraditional aesthetics ever since and created a new horizon for literarytranslation, particularly for the translation of Chinese classical literatureinto English. Accordingly, this thesis explores the classification of literary fuzzy language and their different correspondent fuzzy languagephenomenon and puts forward an aesthetic principle of classical literarytranslation, i.e., a recreation of the fuzziness of the original text based onfuzzy aesthetics theory. Under the guidance of this principle and with acomparative study of the different translation versions of the Chineseclassical literature Hong Lou Meng, the thesis attempts to make anexploration of the recreation and the regret of the fuzzy beauty in thetranslated text from linguistic levels of semantic, syntax and discourse.Moreover, from the perspective of reception aesthetics, the adoption ofthe translation method, with a partial overlap of the translated texthorizon and the readers' expectation horizon, becomes necessary. Partialoverlap means there are both commonness and differences between themand the translated text shall take the expectation horizon of the readersinto consideration and surpass it in the meantime. On the one hand, sincethere is commonness between them, it is improbable for the readers togive up reading because of the great distance between the translated texthorizon and the expected horizon. On the other hand, with the differencesbetween them (for instance, the translated horizon is higher than thereaders' expectation horizon) in the process of reading, the readers willuse their imagination actively to analyze the undamaged calling structure.The existing distance and disharmony will promote the readers to adjusttheir expectation horizon. In fact, they will also improve their own aesthetic appreciation ability and cultural sensitivity.The thesis consists of four chapters:Chapter 1 states generally the literary status of Hong Lou Meng bothat home and abroad, and introduces nine valuable translation versions ofHong Lou Meng.Chapter 2 analyses fuzzy language, one of the arts of language thathas been successfully demonstrated in Hong Lou Meng and focuses onthe explanation of the embodiment of literary fuzziness in the levels ofsemantic, syntax and discourse.Chapter 3 deals with the recreation of fuzzy beauty in the translationof Hong Lou Meng into English.Chapter 4 brings out the differences of language aestheticsgenerative mechanism and the regret of fuzzy beauty recreation in thetranslation of Hong Lou Meng.