Uyghur Translation Studies Of Red Sorghum Family In The Aesthetic Perspective

Mo Yan,being as a grassroots writer in the field of modern Chinese literature,has won lots of honors both at home and abroad by his famous artwork Red Sorghum Family.All his artworks are not only full of spirituality but also courage and uprightness.Once you read it,you will be enlightened and encouraged.Red Sorghum Family,being as a modern literature artwork,covers a series of aesthetic elements,which is a great creation full of the writer's thoughts and efforts.Therefore,when being translated from Chinese to Uygur,it is quite important to clearly and vividly reflect the aesthetic elements shown by Chinese,trying to make the aesthetics reflected by Uygur and Chinese the same.This is what shall be attached great attention to by the translators.I found that the research on aesthetics of translation is mainly about the translation of foreign languages.There are few articles about the translation between Chinese and Uygur.Thus,I am provided with a large space to think about the translation between Chinese and Uygur.Normally,it is a kind of challenge when translating literature.Under the guidance of translation aesthetics theory proposed by Liu Miqing and under the help of some other translation theories,this paper studies the translation of Red Sorghum Family from Chinese to Uygur,trying to have a deep research on the aesthetics existing in the translation from Chinese to Uygur.In this paper,the analysis on aesthetics in Red Sorghum Family is done in two aspects---formal system and non-formal system,discussing about the representation and defects of beauty-appreciation.For example,for the representation of beauty-appreciation,what kind of strategies did the translator use;for defects of aesthetics,what kind of aesthetics elements did the translator loss.In this paper,first,for the formal system,it analyzes the four information systems,by which a summary on the beauty of rhythm,beauty of overlap,beauty of image,beauty of artistic conception,rhythmic beauty and formal beauty;second,for non-formal system,it analyzes the four images in terms of the beauty of blending and the beauty of complement;third,since translation cannot be perfect,it analyzes the defects of the translation between Chinese and Uygur,as well as the reasons of defects.Fourth,Chinese culture and Uygur culture have some same elements in beauty-appreciation,so that representation of beauty-appreciation can be reflected by the translation;for the parts which are different in Chinese culture and Uygur culture,the translator who lacks the taste in art will have some losses in beauty-appreciation.In this case,some aesthetics cannot be well represented.Anyway,the representation of beauty-appreciation can be achieved by the mode “understanding--processing--transformation”.That is the new linguistic theory is seldom used.Red Sorghum Family,being as an excellent artwork with great influence,will be differently understood in different aesthetic views.As a result,different understandings will resulted in different translations.I hope that from the view of translation practice,a deep analysis can be done by translation aesthetics theory.Anyway,I hope that the research on the aesthetics of Red Sorghum Family in Uygur can enlighten other scholars.At the same time,I sincerely hope that other scholars can give me comments and suggestions for the research and analysis related to the aesthetics of translation.Moreover,I deeply hope that we can work together to push forward the joint development and harmony of bilingual literature in Xinjiang.