On The Re-creation Of Ideorealm Out Of Images In The Transtations Of Zhuzhici

It is beyond doubt that poetry translation is no easier a job than poetrycomposition. When it comes to the rendering of ancient traditional Chinese poetry, theculture inheritance passing on from one generation after another, it is all the moredifficult without exception. As the gem of Chinese culture and literature composed bybeautifully and elaborately written language, poetry is considered an art conveyingand expressing beauty, with a variety of poems and Ci-poems enriching Chineseculture and attracting numerous scholars at home and abroad to the field of poetrystudy. Translation of traditional Chinese poetry, on the other hand, goes through along course in Chinese-English translation history, making a large number of Englishversions come into being in one kind or another.Up to now, countless perspectives have been applied to the study of translationof poetry, it is also not uncommon that a number of poetry translation has beenstudied from aesthetic point of view, which can take more into account the uniquecharm and beauty consisting in the original poetry, and better represent some artisticfeatures in the target language, such as rhythm, image, ideorealm, etc.The rendering of Chinese poetry has all along been particular over thetransference and representation of rhythm and poetic quality. Being the soul of eachpoem or Ci-poem, ideorealm is no wonder one of the most important objects ofaesthetic perception and appreciation. Both the poet himself and the translator wasteno effort in presenting and representing the ideorealm. This paper, by introducing thecore notions of gestalt aesthetics as the theoretical guide principles, has probed intohow gestalt ideorealm can be better reflected in the English versions of Liu Yuxi’sZhuzhici in a way beyond linguistic level. Besides, on the basis of professor JiangQiuxia’s model for aesthetic progression in literary translation, this paper hasdeveloped a “four-stage model” for translation process with the aim of reproducing aversion with more equivalent and holistic ideorealm. The model has also been appliedto the contrastive analysis of three versions of one of Liu’s Zhu Zhici in aspects of ideorealm equivalence and the possibility of gestalt ideorealm re-creation.In the end the thesis has pointed out the blind spots of the application of gestaltaesthectis in poetry translation and advanced some questions over the re-creation ofideorealm in poetry translation, wishing for some revelation on C-E poetrytranslation.