A Semiotic Study Of The Translation Of Images In Shijing

This study is aimed at exploring the problem of conveying meanings in image translation. The theoretical framework is a semiotic one, and a comparative analysis is done on Shijing and its Chinese translations.For the convenience of analysis of the images, in the present study, discussion of images and their translations is held in three parts:first, the discussion of images that seem to be missing in translation; second, the discussion of images that seem to be changed in translation; third, discussion of images maintained without change in translation. Among these three parts, the discussion of missing images focuses on the images that are replaced by non-image language in translation; the discussion of other images focuses on images that are translated also by images. The images that seem to be changed refer to the images whose referential meaning changes in translation and the images maintained are those whose referential meaning remains.As a literary device, imagery is special in some aspects, such as its rather close relations with the association, emotions expression and arising and imagination of people. Thus, the meanings of images depend heavily upon the interpreter, certain knowledge and way of abstract thinking that he/she owns. On the contrary, the referents of images are not the core of imagery. As a result, image translation is also unusual. In the process of translation, the target readers and their differences with the original readers should be prioritized. And when conveying the meanings, the translator should put the core meaning of images at the centre.From the semiotic analysis of images and their translations, it is not hard to discover that pragmatic meaning, which depends on the relation between the sign and its interpreter, is the core in image translation. Having images missing in translation may be reasonable and of necessity, because the translator replace them with non-image signs to better convey the pragmatic meanings of the images, sacrificing the device of imagery; changing the images can also be a positive or negative move, because the translator sometimes has to sacrifice the referential meaning of the images to convey the pragmatic meaning, or in accordance with the keynote of the poem, but sometimes they also change them for not quite fair reasons; maintaining the images may not be a wise choice, since there may be a gap between the pragmatic meanings of an original image and the translated image with the same referential meaning, causing a distortion of the pragmatic meaning of the original image in translation, but if there is a way to bridge the gap and maintain a balance between sacrificing the referential meaning and conveying the original pragmatic meaning, it will be more ideal.This study focuses on the problem of conveying meanings in image translation, which is also a central problem in image translation. Compared with attention paid on the reconstruction of forms and sounds in poetry translation, research on conveying meanings is closer to the essence of translation. Conveying meanings in poetry translation is the most important step in communicating the beauty and literary value of poetry. For such a great Chinese cultural and literary heritage as Shijing, to deliver through translation its considerable cultural and literary value to the rest of the world counts on the translator’s profound understanding and correct delivery of meanings. In this regard, improving the practice of and the research on image translation is of significance.