On Translation Of Fuzzy Language In Literature From The Perspective Of Aesthetics Of Reception

Human language is endowed with the characteristic of fuzziness. Fuzzy expressions are widely employed in all forms of language, which makes our language more flexible and colorful with particular pragmatic values. Fuzzy language is usually used in literary works by experienced writers to obtain unique expression effect and artistic value. Fuzziness becomes one of the most distinguished features of literary language. Therefore, the translation of fuzzy language is of great significance in literary translation. This thesis explores the translation of fuzzy language in literature from the perspective of aesthetics of reception, taking Turbulence---the English translated version of Jia Pingwa's Fu Zao by Howard Goldblatt as a case study.Originated in late 1960s, aesthetics of reception challenges the literary circle which has followed author-centered and text-centered literary theories for a long time, and establishes the reader-centered criticism. It attaches great importance to the readers'reception and their active participation in the reading process. Aesthetics of reception is closely related to translation, and has been gradually applied to translation studies. It sheds enlightenment on translation process and the role of the translator. Starting from illustrating the representation patterns of fuzzy language and its aesthetic value, and based on the main thoughts of the reception theory and its enlightenment on literary translation, the thesis probes into the translation of fuzzy language in literature from the angle of aesthetics of reception. It puts forward the principles of translating fuzzy language in literature and then concludes three general translating techniques.Aesthetics of reception provides a brand-new perspective for fuzzy language in literature and its translation. The indeterminacies brought by the fuzzy language leave large imagination space for the readers, which greatly excites and modifies their horizon of expectations. When dealing with fuzzy language in the literary text, the translator should base on the target language readers'horizon of expectations, take the aesthetic distance as the standard and follow the principles of flexibility and openness to fully transform the fuzzy art of the original work. The translator, as the reader of the source text and the writer of the target text, plays an active role in translating fuzzy language. He has to make the target language readers obtain the same aesthetic experience as the source text readers, and also keep the translated text open so that the target readers can use their imagination to fill in the blanks and indeterminacies. By doing so, their horizon is gradually enlarged. Besides, the study also reveals that literary translation is to some extent a king of creation on the basis of the source text.