Xue Fan's Song Translation From The Perspective Of Translation Aesthetics

As an indispensable part in people's daily lives, songs can encourage and inspire people for soul sublimation, and then bring people into the music world. Especially in times of increasingly frequent international exchanges today, foreign songs have been more and more popular. However, due to differences in foreign languages, cultural factors hinder the Chinese understanding of foreign songs, which seriously affects the integrity of the song itself. Therefore, it is necessary for us to translate and dub foreign songs. Song translation is different from the simple translation of the song's lyrics. It requires a translator who fully grasps the meaning of the song, and who first translates the lyrics, and then tunes to modify and adjust, so that the translation can be matched with the original song according to the rhyme of the song itself. This makes a more demanding job for translator to make a decent combination which requires them to have good language skills and proficiency in music theory as well. The more important for translator is able to better grasp the cultural backgrounds in different countries. Xue Fan devoted his life to foreign song translation, introduction and research. He has translated and dubbed numerous popular songs, songs provided a reference for translation and dubbing. Nevertheless, problems still exist. On one hand, song translation by Xue Fan laid more emphasis on practical work, lacking a strong theory; on the other hand few translators are engaged in the song translation work, resulting in lack of abundant related research. In view of this, I try to use translation aesthetics theory to probe into Xue Fan's song translation practices.Aesthetics in translation activity is subject to aesthetic object, which is also a kind of language. However, it is not the general sense of both aesthetics. The difference between them is that the aesthetic conversion issues are involving both cross-language and cross-culture. Hence aesthetic is more complex than common language. Translation aesthetic object is the direct recipient of aesthetic activity of aesthetic subjects and participants. It can be divided into formal system and non-formal system. The form systems mainly include voice, words, sentences, paragraphs aesthetic information. Aesthetic refers to the aesthetic object of aesthetic activity and the translator. On one hand, it is subject to aesthetic object and limited by the translatability of the source language, bilingual and cultural differences. On the other hand, it is limited by the translator's subjectivity.In this thesis, we try to make an appropriate combination of translation theory with Xue Fan's songs translation which absolutely makes sense. This thesis mainly consists of the following aspects. The first part is a probe into theories based on translation aesthetics, such as aesthetic objects, aesthetic subjects. Following it is an introduction of Xue Fan's song translation, and the historical background of the song translation, especially current controversy on song translation. Most importantly, with the application of Liu Miqing's translation aesthetics theory, Xue Fan's song translation is studied at the phonetic level, lexical level and syntactic level from the perspective of object and the restrictive factors are taken into consideration from the perspective of subject. With the integration of translation theory and practice, this thesis is an attempt to analyze various translation works by Xue Fan and demonstrates the applicability of matching translation aesthetics to the songs which are supposed to provide theoretical reference for song translation practice in the future.