On Aesthetic Representation In Fu Translation From The Perspective Of Translation Aesthetics

Poetry,ci,qu,and fu are four traditional genres of ancient Chinese literature.Only when Qu Yuan wrote Encountering Sorrow did fu become a full-fledged genre.Song Yu,Xun Zi in the end of Warring State Period also contribute to the formation of this genre.The development of fu goes through several stages,ranging from the great fu of Han Dynasty,the lyrical fu of Wei Jin Dynasty,the pian fu of Northern and Southern Dynasties,to the lv fu of Tang Song Dynasty.Despite its variants,fu still possesses the intrinsic beauty of unfolding literary patterns and the art of language to describe scenery and human feelings.However,nowadays the translation studies on fu are restricted to the stylistic representation from the perspective of stylistics,the representation of semantics and speech forms of fu from the perspective of semantics,and studies on translation strategies of translators.The representation of aesthetic features of this genre is quite absent in the field of translation studies.This thesis aims to make an aesthetic analysis of the aesthetic representation of fu translated by David R.Knechtges from the perspective of translation aesthetics in terms of phonetics,semantics,syntax in the formal system and emotion,aspiration,image,artistic conception in the non-formal system.This thesis includes five parts:The first part is the introduction of the thesis,including research background,research method,research structure and the significance of the thesis.The second part is the literature review,which includes the reviews of definition of fu.After that,the author made a general review on the translation studies of fu at home and abroad,and most importantly,the translation and translation studies of David R.Knechtges.The third part is the theoretical framework.In this part,discussions such as,the definition,development of Translation Aesthetics are made.The thesis also explores the aesthetic subject and object,the aesthetic representation of literary works written by Liu Miqing.The fourth part is the main part of the thesis.From the perspective of translation aesthetics,the thesis analyzes the translation versions of fu from the formal andnon-formal system.In the formal system,the thesis intended to reveal the aesthetic representation of the ending rhyme,the rhythm,the reduplicated words in the phonetic system;the rhetoric,the connotation,the big words in the semantic system;the antithesis structure,the parallel structure,the impersonal subject structure in the syntax system.In the non-formal system,the thesis is devoted to a analysis of the representation of the emotion and aspiration,the representation of the images which includes the figurative images,the allusive images and the cultural images,and the representation of the artistic conception.The fifth part is the conclusion of the thesis.In this part,conclusions on how David R.Knechtges represents the beauty of the original texts are made.The author suggests that the translation strategies David R.Knechtges adopted are more foreignization than domestication,the target readers of the translation are scholars and sinologists,the translations of David R.Knechtges are academical and historical materials for the translation studies of fu.