A Comparative Study On Aesthetic Representation Of Translated Versions Of Moment In Peking From The Perspective Of Translation Aesthetics

Translation aesthetics explains the mechanism and function of translation with the basic theory and structural framework of aesthetics.It also analyses and solves the aesthetic problems in interlingual conversion.The linguistic beauty of the original text is ubiquitous in translation,which requires the translator as the aesthetic subject to discover,perceive and reproduce the beauty of the original text.Aesthetic representation,as the terminal link of translation aesthetic experience,can find the best artistic expression for the original language.Thus,it has a guiding role in literary translation.The content of Moment in Pecking is extensive and profound,the feelings are natural and the language is elegant and implicit,which has attracted many Chinese translators to translate this book.As far as Chinese versions are concerned,Zhang Zhenyu’s Jing Hua Yan Yun and Yu Fei’ s Shun Xi Jing Hua better convey the original author’s intentions.These two versions are the most popular and widely circulated among the readers.At the same time,the two translators own different translation styles due to their significant differences in cultural background,aesthetic experience,and life experience,etc.From the perspective of translation aesthetics,based on the principle of the formal beauty of language,a comparative analysis of the two versions can show the differences in aesthetic representation.Based on the theory of translation aesthetics written by Liu Miqing,this thesis focuses on translation aesthetic object and aesthetic representation.Translation aesthetic object mainly consists of the formal system and the non-formal system.In order to compare the embodiment of the principle of formal beauty in aesthetic representation between the two versions,the aesthetic representation of formal system is analyzed and compared from three aspects:phonetics,lexis,and syntax,while non-formal system is compared from imagery and ideorealm.Through comparison,the author finds that the two translators have their respective advantages in expressing the aesthetic value of the original text.In phonetic translation,both of them adopt the compensation method to retain the original sound.In lexical translation,Yu Fei’s version is more in line with the principle of formal beauty than Zhang Zhenyu’s in terms of word choice,collocation and register.In syntactic translation,Zhang Zhenyu’s translation is more diversified and literary,while Yu Fei’s translation is more plain.In the translation of imagery and ideorealm,Yu Fei grasps the inner feelings of the original characters and the characteristics of scenery.