《从翻译美学角度看《庄子》的意境传递》由会员上传分享，免费在线阅读，更多相关内容在教育资源-天天文库。
M.A.DissertationofChongqingUniversityTableofContentsTABLEOFCONTENTS中文摘要.........................................................................................................................IABSTRACT................................................................................................................IICHAPTERONEINTRODUCTION..................................................................11.1RESEARCHBACKGROUND...............................................................................11.2RESEARCHQUESTIONSANDMETHOD...........................................................21.3THESISSTRUCTURE..........................................................................................2CHAPTERTWOLITERATUREREVIEW...................................................42.1RESEARCHONARTISTICCONCEPTION..........................................................42.1.1TheOriginofArtisticConception...........................................................42.1.2DevelopmentofArtisticConceptioninModernPeriod..........................52.1.3ArtisticConceptionandAesthetics..........................................................92.2RESEARCHONZHUANGZI..............................................................................102.2.1ReviewonZhuangzi’sAesthetics..........................................................102.2.2ReviewonZhuangzi’sTranslation.........................................................11CHAPTERTHREETHEORETICALBASIS..............................................143.1INTRODUCTIONTOAESTHETICS..................................................................143.2TRANSLATIONAESTHETICS...........................................................................153.2.1Definition...............................................................................................153.2.2Development..........................................................................................163.2.3RelationshipbetweenTranslationAestheticsandZhuangzi..................183.3AESTHETICELEMENTSINTRANSLATION....................................................183.3.1AestheticObjects...................................................................................183.3.2AestheticSubject....................................................................................21CHAPTERFOURCASESTUDY:TRANSFERENCEOFARTISTICCONCEPTIONINZHUANGZI.........................................................................234.1REASONSOFCHOOSINGTHETWOVERSIONS.............................................234.2AESTHETICFEATURESINZHUANGZI............................................................244.2.1MacroscopicAspects.............................................................................244.2.2MicrocosmicAspects.............................................................................244.3TRANSFERENCEINFORMALSYSTEM..........................................................254.3.1SuccinctWord........................................................................................25III M.A.DissertationofChongqingUniversityTableofContents4.3.2SpecialRhetoricinZhuangzi.................................................................284.3.3PoeticForm............................................................................................314.4TRANSFERENCEINNON-FORMALSYSTEM.................................................344.4.1Emotion..................................................................................................344.4.2Imagesand“ImagebeyondImage”.......................................................36CHAPTERFIVECONCLUSION.....................................................................415.1FINDINGS..........................................................................................................415.2LIMITATIONS....................................................................................................415.3POSSIBLEEFFORTSFORFURTHERSTUDIES...............................................42ACKNOWLEDGEMENTS.................................................................................43REFERENCES.........................................................................................................44APPENDIX................................................................................................................47IV M.A.DissertationofChongqingUniversityChapterOneIntroductionCHAPTERONEINTRODUCTION1.1ResearchBackgroundChina,whichhasalonghistoryandagloriousculture,isoneoftheoldestcivilizedcountriesaroundtheworld.IthasbeentheaspirationofmanyChinesescholarstotranslateandintroducetheChineseliteraryclassicstopeopleallovertheworld.TheChinesenationhasmadeuniquecontributionstothecommunityofmankind.Fromthefifthtothefifteenthcenturies,Chinawasinthefrontranksofworldcivilization,andpriortothefifthcentury,Chinaledtheworldbothinscienceandtechnology.TheauthorofTheRiseandFalloftheGreatPowers,ProfessorPaulKennedy(2006)fromtheYaleUniversityarguedthatforallthecivilizationsofthepre-modernperiod,nonewasaswell-developedorasprogressiveasthatofChina.Afterenteringthe21stcentury,theworldhasdevelopedintoanintegratedunity,andChinaandherculturehavebeguntoattractmorewesterners.Meanwhile,asonememberoftheglobalization,Chinaalsohastointroduceherculturetoothersandlearnsfromothers.Chinacannotbeseparatedfromtherestoftheworld;andtherestoftheworldcannotignoreChinaeither.Chinesecivilizationhasenricheditselfbyabsorbingnewelementsfromtheoutsideworld,andinreturn,Chinahascontributedtotheprogressofworldcivilizationasawholebytransmittingtootherpeoplesitsownculturalachievements.WesternlearningisstillbeingtransmittedtotheEast,andviceversa.Underthiscircumstance,moreChineseclassicswithuniqueandcharmingChinesecultureandphilosophyhavebeentransmittedwesterncountriesandmeanwhile,moreeffectivetranslatingapproachesareexpectedandappliedtoguidethetranslation,whichcanmakethecross-culturalcommunicationbetter.Itisthecommonnatureforhumanbeingstocreateandappreciatethebeauty.Aestheticshasastrongrelationshipwithtranslation.BothChineseandWesterntranslationtheorieshavediscussedthedevelopmentofaesthetictheories.Cicero(106-43B.C.)proposedthattranslationneededexquisitewordsandexpressions.However,translationaestheticshasamorespecificrootinChina.ItisthebasicfeatureofChinesetranslationtheory.ManyChinesepeoplehavediscussedtheaestheticsandtranslation.Forinstance,Laozisaidthattruewordswerenotembellishedwhiletheembellishedwordswerenottrue;Confuciusproposedtheunityofformandcontent;YanFuproposedhisviewonthestandardsoftranslationinfaithfulness,expressivenessandelegance;Lin1 M.A.DissertationofChongqingUniversityChapterOneIntroductionYutangpresentedtheideaoftransferenceofmeaningandconveyanceofspirit;andsoon.Inmoderntimes,numerousresearchersneverstopdoingtheresearchonChinesetranslationaestheticstheory,likeXuYuanchongstatedhisfamoustheoryofthreebeauties.AccordingtothedevelopmentofChinesetranslationhistory,wecanconcludethattranslationstudieshaveneverbeenseparatedfromaesthetics.InChineseclassics,Zhuangziisconsideredasasignificantbookwithvividartisticconception.InZhuangzi’swriting,hemovedfromdialoguestoessays,whichimprovedhisprosetoahigherstage.TherearemanykindsoffiguresofspeechinZhuangzi,suchasmetaphor,hyperbole,parallelism,antithesis,repetition,andsoon.Itisthearticlewithhighpersuasivepowerandartisticappeal.AccordingtoWangRongpei(1999),therearethreekindsoftalksthatcanbeexpressedwithwords.Theyarefables,quotationsandrandomtalk.InWang’sview,fablesexpressmeaningsbymakingcharactersandanecdotestogivehisownthoughts.Quotationsexpressmeaningsbyborrowingwordsfromtheancientphilosopherstoexpoundtruth.Randomtalkexpressesmeaningsbyusingwordsthatconformtonaturetoelaboratehisideas.Zhuangziusedthesethreewaysinhisarticle,andheexpressedhisthoughtsbyvividimagesandbeautifulspeech.Therefore,hisproseisfullofartisticconceptionanditisabsolutelybeautiful.1.2ResearchQuestionsandMethodZhuangziisfamousforitsimaginativeartisticconceptions.AccordingtothemainfeatureinZhuangzi,thisthesiswilldiscussZhuangzi’stranslationunderthetheoryoftranslationaesthetics.Theauthorswillanalyzetheoriginaltextanditstranslationfrommicrocosmicformalaspectsandmacroscopicnon-formalaspects,andtriestodiscusshowtotransferZhuangzi’sartisticconceptionandreconstructitsartisticconceptionbeautyintranslation.Theresearchwillbedonebymeansofdescriptivemethod.1.3ThesisStructureThisthesisisdividedintofivechapterstodotheresearch.ChapterOneistheintroductionofresearchbackground,questionsandmethodofthisresearch.ChapterTwogivesabriefreviewonartisticconceptionandZhuangzi.ChapterThreepresentsthetheoryfoundation---translationaesthetics.Itpresentsitsbasicdefinition,developmentandmainconstituents.ChapterFourexploresthetranslationofZhuangziundertheguidanceoftranslation2 M.A.DissertationofChongqingUniversityChapterOneIntroductionaesthetics,especiallyfromthemainconstituentsofaesthetics.Inthispart,thequestionofhowtheartisticconceptioninZhuangziistransferredwillbediscussedandexploredindetail.ChapterFivesummarizesthefindingsandlimitationsoftheresearch.Italsodiscussesthepossibleresearchinthefuture.3 M.A.DissertationofChongqingUniversityChapterTwoLiteratureReviewCHAPTERTWOLITERATUREREVIEW2.1IntroductiontoArtisticConceptionArtisticconceptionisasignificantcategoryinaesthetics,whichisatthecoreofliterarytranslation.MaoDun(1984)statedthatliteraturewasakindofartthatusedlanguagetocreate,andtheliteraturewasexpectednotjusttonarratetheconceptofthingsandcircumstance,butmore,tobeabletoattractreaders’artconception,makingreadershavestrongfeelingstothecharacters’thoughtsandbehaviorsthroughartimages.MaoDun(1984)alsopresentedaconceptiontotheliterarytranslationthatthetranslationofliteraturewastotransfertheartisticconceptionoftheoriginalworktoanotherlanguage,throughwhichthereaderscouldachievethesameillumination,sensation,andthesenseofbeauty.Theupperpassagerevealsthepropertyofliteraturetranslation,andfiguresoutthemaintaskofliterarytranslation---thetransferenceofartisticconception.Therefore,artisticconceptionisconsideredtobeoneofthemostimportantfactorsintranslation.Inshort,artisticconceptionreferstointroducereadersintoarealmofartisticimaginationbymeansofdescriptiontotheimageofnaturescenes,withwhichthebasiccomponentistheblendoffeelingandscene.Itcontainstwoaspectsoftheobjectivereflectionoftheimageinlifeandthesubjectivecreationofemotionalidealinwriter.Theformeriscalled“realm”aspect,andthelatteriscalled"feeling"aspect.Thecombinationofthesetwoaspectscreatestheartisticconception(ZhaoZecheng,1985).2.1.1TheOriginofArtisticConceptionArtisticconceptionabouttheartimageisthemaintheoryinourcountry’sancientaesthetics,whichgerminatedinthepre-Qinperiod(twenty-firstcenturyB.C.-221B.C.),andbasedonthetheoriesinYiZhuan,Zhuangzi,sixprinciplesinthepoems.Soonafterwards,artistsandcriticslikeLuJi(261-303A.D.),GuKaizhi(348-409A.D.),LiuXie(about465-520A.D.),ZhongRong(468-518A.D.)proposeddissertationsaboutmoodandmaterials.Someconceptionslikeimage(yixiang),taste(ziwei),strengthofcharacter(fenggu),andcharm(shenyun)wereproposedthen,andalloftheseconceptionsprovidedsignificantinfluencestotheformationofartisticconception(GuFeng,1997).TheemergenceofartisticconceptionalsohasadirectrelationtothetranslationofBuddhistsutra.Thewordrealm(jingjie)isaBuddhisttermoriginally,whichisusedtodescribetheidealstatethatBuddhistwantstoget.Thenthewordrealmisusedin4 M.A.DissertationofChongqingUniversityChapterTwoLiteratureReviewart---firstinpaintingsandcalligraphies,theninpoems,laterinnovelsandprose.ThefamouspoetWangChangling(698-756A.D.)inTangDynasty(618-907A.D.)setoutthreerealmsofapoem,whopointedoutthatapoemhadmaterialrealm(wujing),circumstance(qingjing),andartisticconception,andamongthem,artisticconceptionwasthemostsignificantone.InthehistoryofChineseliterarycriticism,WangChangling’sviewpointwasknownastheearliesttheoryofrealm,whichhadaprofoundinfluenceinthefuture.InMingandQingDynasty(1368-1911AD),artisticconceptionwasusedwidely(SunYingchun,2000).2.1.2DevelopmentofArtisticConceptioninModernPeriodItisknownthatintwentiethcentury,artisticconceptionresearchbeganfromWangGuowei(1877-1927),whoseworkJEN-CHIENTZ’U-HUA(RenJianCiHua)wasseenastheprologueoftheresearch(GuFeng,1997).GuFeng(1997)dividedmodernresearchesaboutartisticconceptionintothreeperiods.Thefirstperiod,whichwasfrom1919to1950,wasseenasthetransitionperiodoftheresearchforartisticconception.Atthebackgroundofthetransitionfromtraditionalculture,whichwasrepresentedbythewritingsinclassicalChinese,tomodernculture,whichwasrepresentedbythewritingsinvernacular,“theresearchaboutartisticconceptiontransfersintheconcepts,methods,andmanipulationoflanguage”(GuFeng,1997:37).ZongBaihuawastheestheticianinartisticconceptionresearchduringthisperiod,whoviewedartisticconceptionastheessenceofnewpoemsinhisbookXinshiLuetan.Hedemandedthatthecreationofnewpoemsshould“writenaïvemeaningsandnaïvepoeticartisticconceptions”,andheraised“artisticconceptionofemotion”(GuFeng,1997).Inthesameyear,followingZong’sview,hisfriendKangBaiqingproposed“artisticconceptionofimagination”.Kangstatedthattheemotionwassubjective,whiletheelementsthatarousetheemotionwereobjective.Theuniformbetweenthesubjectiveandtheobjectivewasthe“artisticconceptionofemotion”;whilesomepoemsneededtobeimagedtoformanewartisticconceptionandapoeticworld,whichwascalledthe“artisticconceptionofimagination”(GuFeng,1997).In1940s,ZongBaihua(1981)wroteanotherbooktheBirthoftheArtisticConceptioninChineseArt,inwhichhedissertatedtheessence,typesandimplicationsoftheartisticconception.HealsoarguedaboutthestatusthattheartisticconceptionhadinChinaandworldculture.HuShialsowrotesomearticlesaboutartisticconceptionandhemadethe“newartisticconception”asacriterioninliterarycriticism(GuFeng,1997).In1934,ZhuGuangqianpublishedhisarticleShideYinyuXian(theRecessivenessandDominanceofPoems),inwhichnew5 M.A.DissertationofChongqingUniversityChapterTwoLiteratureReviewopinions---paralleledartisticconception,andartisticconceptionbeyondmaterial---wereproposed(GuFeng,1997).In1937,ZhangQichun’sarticleZhongxiYijingzhiQiaohe(CoincidenceoftheArtisticConceptionbetweenChinaandtheWest)wasseenastheearliestarticlethatdidtheresearchonartisticconceptionbythemethodofcomparisonbetweenChinaandtheWest(GuFeng,1997).Thesecondperiodwasfrom1951to1977.GuFeng(1997)describeditastheperiodofrelativestagnation.Firstly,attheverybeginningoftheperiod,theresearchaboutartisticconceptiondidnothavefurtherdevelopment;secondly,theperiodsufferedtheCulturalRevolution,andgotaseriousdelay;thirdly,thequantityofarticleswrittenabouttheartisticconceptionwerequitelessthantheformerperiod.Thethirdperiodwasfrom1978to1991,anditwasseenastheperiodofdevelopmentinartisticconceptionresearch.Inthesethirteenyears,GuFeng(1997)countedthatabout1091peoplestudiedartisticconception,andnolessthan1147articleswerepublished.Thatmeans,onaverage,therewere84peopledevotedthemselvestotheresearch,and88articleswereissuedeveryyear.Thisperiodwasseenasthegoldenageofthecomprehensivedevelopmentofmodernartisticconceptionresearch.Thiscomprehensivedevelopmentincludedfollowingaspects.Someresearcheswerefromthehistoryofartisticconception,andtracedtheoriginofartisticconceptiontoLaozi,Zhuangzi,andZhouyi,makingtheresearchintoprofounddirection.Somewerefromvarioussubjectslikephilosophy,aesthetics,Buddhism,culture,psychology,whichgaveartisticconceptionnewextensions.Somewerefromdifferentmethodssuchasthesemioticmethodandthecomparativemethod.Thiswasseenasthenewappearanceinmodernartisticconceptionresearch.Andthen,thereweresomeartisticconceptionresearchesonliteraryartlikeappreciationandcommentary(GuFeng,1997).Researchontheartisticconceptiondidnotstopafterthesethreeperiods.WuHuijieandHuangHuiwei(1999)wroteadissertationandusedthestatisticalmethodtoanalyzeresearchpapersofartisticconceptionbetween1993and1997inourcountry’sacademia.Table2.1isthestatistics:6 M.A.DissertationofChongqingUniversityChapterTwoLiteratureReviewTable2.1:ArtisticConceptionResearchPapersinYears(Wu&Huang,1999:114)Thetable2.1distinctlyshowsthattheresearchonartisticconceptiongrowsupinthosefiveyears,especiallyfrom1993to1994.Thenthespeedslowdown,buttherearestilltwotothreedissertationspublishedyearafteryear.Itmeetsthelawthatwhenasubjectentersitsperiodofdevelopment,thequantityofdocumentwouldincreaserapidly;whenthesubjectbecomesmature,thequantityofpapersgrowsslower,andthedevelopmentofdocumentsentersintoastableperiod.WuHuijieandHuangHuiwei(1999)alsoanalyzedthetypesofartisticconceptionpapersfrom1993to1997.Table2.2isusefultounderstandtheorientationandrangeoftheresearchonartisticconception.Withinthosefiveyears,althoughthepriorityareaoftheresearchonartisticconceptionisstillitsbasictheory,moreconcreteliteraryareasareinvolvedin,whichprovidesanewdirectiontodotheresearchonartisticconception.Table2.2:ArtisticConceptionResearchPapersinTypes(Wu&Huang,1999:115)ThedissertationofWuandHuanggainedapositiverepercussion,whichprovidedsomerelatedreferencesforscholarstomasterthedevelopmentoftheresearchonartisticconception.Abouttenyearslater,forthepurposetoprovideareferencefortheartisticconceptionresearch,andencouragedbyProfessorGuFeng,WuHuijie(2010)wroteanotherthesisandcounteduptheresearchpapersonartisticconceptionbetween7 M.A.DissertationofChongqingUniversityChapterTwoLiteratureReview1998and2007,andshealsomadeastatisticsforthetypesofresearchinthesetenyears.Theresearchonartisticconceptionwaspresentedintable2.3andtable2.4.Table2.3:ArtisticConceptionResearchPapersinYears(WuHuijie,2010:169)Table2.4:ArtisticConceptionResearchPapersinTypes(WuHuijie,2010:170)Intable2.3,therehasbeenacontinuousincreaseinthenumberofartisticconceptionresearch.Theresearchfrom1998to2001andfrom2002to2005iscomparativelystable,andtheresearchobtainedagreatdevelopmentfrom2001to2002andfrom2006to2007.Duringeverydevelopment,Wustatedthatthereweremoreorientationsenteringintotheartisticconceptionresearch(2010:169).AccordingtoWuHuijie’s(2010)statistics,whichisshownintable2.4,theresearchontheartisticconceptionhasbeendevelopedmorewidely.Thetypesoftheresearcharenotlimitedintheareaofbasictheory.ItisbroadenedintoareaslikeChineseteaching,architecture8 M.A.DissertationofChongqingUniversityChapterTwoLiteratureReviewandgarden,andsoforth.Itdisplaysthatthedevelopmentoftheresearchonartisticconceptionhasenteredintoacomprehensivesituation.2.1.3ArtisticConceptionandAestheticsInMarch1943,ZongBaihua(1981)finishedathesisZhongguoYishuYijingzhiDansheng(theBirthofChineseArtConception).ThisarticlewasdifferentfromthefragmentaryreferencesandsimplejudgmentstoartisticconceptioninChineseaesthetichistory.ItreallyendowedartisticconceptionwithacorecategoryofthestatusinChineseaesthetics(ChenGuying,1984).Zongstatedthatanartistalludedhisemotionsbymeansofcreatures;whathewantedtodisplaywastheblendbetweenthesubjectiveemotionandobjectivenature,andtocreateasmartmood,whichcouldbecalledartisticconception(ZongBaihua,1987).WangGuoweigaveprominencetoartisticconceptionandconsidereditasthesupremeinChineseancientaesthetics(ChenChao,2010).InthethesisLunYijingdeMeixueTezheng(OnArtisticConceptionoftheAestheticFeatures),ZhangShaokang(1983)wrotethatartisticconceptionwasaspecialartisticimage.GuFeng(2001)wrote,“first,throughtheeffortsofLiangQichaoandWangGuowei,theartisticconceptionbecomesanimportantconceptinthecontemporaryaesthetics,playinganimportantroleintheformationofthecontemporaryaesthetics.Second,theartisticconceptioniswidelyusedinthecontemporaryaestheticpractice,andisofexemplarysignificanceinthedevelopmentandexploitationofthetraditionalaestheticresource”(p.64).ThequestionthatartisticconceptionbelongstoChineseclassicalaestheticcategorycanbedemonstratedthroughlogicalandhistoricalperspective.Inlogicalperspective,GuFeng(2001)statedthatartisticconceptionfirstappearedinthepoetics,thenitwasextendedtothefieldofliteratureandart.ThiswasthehighlyconcentratedexpressiontotheancientChineseaestheticsense,aesthetictaste,andaestheticideals.Furthermore,fromtheprofoundlogicview,theemergenceandthedevelopmentofartisticconceptionhadaphilosophicalfoundationof“harmonybetweentheheavenandhuman”andabasisofnationalaestheticpsychology;itwastheoutcomeofunitybetweenemotionandenvironment;itwastheunitybetweenhumanaestheticandnature.Fromahistoricalperspective,notonlyhastheartisticconceptionaself-productionanddevelopmenthistory,butalsoconcernstheaesthetichistoryofChineseaestheticsense,conceptandtheory,evenconcernsabroaderaestheticculturalhistory.GuFeng(2001)statedthatfromtheperspectiveofhistorydevelopment,artisticconceptionmainlybelongedtopoetrycategoryintheTangDynasty(618-907A.D.)tothe9 M.A.DissertationofChongqingUniversityChapterTwoLiteratureReviewSong(960-1279A.D.)andYuan(1206-1368A.D.)Dynasties.AfterSongandYuanDynasties,inmoderntimes(1840-1919A.D.),artisticconceptionconvertedintoliteraturecategory,whichwaswidelyusedinareaslikepoem,ci,qu,novel,music,painting,calligraphy,andgardening.Sincemoderntimes,withtheintroductionofWesternaestheticsandtheconstructionofChineseaesthetics,artisticconceptionwastransformedfromliteraturecategorytoaestheticcategory.ThisconversionwasalmostcompletedbyLiangQichao(1873-1929A.D.)andWangGuowei(1877-1927A.D.).Incontemporaryera,artisticconceptionwasstillseenasthesignificantcategoryinChineseaesthetics.GuFeng(2001)pointedoutthatitcouldbetracedbackto1957,LiZhehouwroteinhisthesisYijingZatan(onArtisticConception)andstatedartisticconceptionwasstillthebasiccategoryintoday’saesthetics.ThenmorepapersaboutartisticconceptionwerepublishedlikeLanHuazeng’s(1981)Yijing---ShideJibenShenmeiFanchou(ArtisticConception---theBasicAestheticCategoryofPoem),PanShixiu’s(1981)LuelunYijingshuodeMeixueYiyi(AestheticSignificanceofArtisticConception),ZhangShaokang’s(1983)LunYijingdeMeixueTezheng,LiYuanluo’s(1987)CongZhongxiMeixueSixiangdeBijiaoKanYijing(ArtisticConceptionfromtheComparisonbetweenChineseandWesternAesthetics).Thesepapersshowedthatcontemporaryscholarsnotonlyestablishedtheconceptthatartisticconceptionbelongedtoaesthetics,butalsoconsidereditasanimportantissueincontemporaryaestheticstostudy.Artisticconceptioniswidelyusedinthepracticeofaestheticactivities.Thoughdifferentpeoplehavedifferentopinionstotheartisticconception,itwillnotpreventtheuseandexchangeofartisticconception.Moreandmorepeoplehaverealizedthecloserelationshipbetweenartisticconceptionandaesthetic.Itisfeasibletoanalyzeartisticconceptionfromaesthetics.2.2ResearchonZhuangzi2.2.1ReviewonZhuangzi’sAestheticsThe1980ssawtheboundaryofZhuangzi’sresearch.TheformerperiodmainlysawthetextcollationsandcommentsonZhuangzi,includingitstextexplanation,biographyofZhuangzi,andresearchonZhuangzi’sphilosophy.Afterthe1980s,withtheriseofanewdevelopmentofAesthetics,researchonthehistoryofChineseaestheticswasbooming.“Thelasttwentyyearsofthetwentiethcenturysawthe‘ZhuagnziAestheticCraze’becomelarge-scale”(LiuShaojin,1989:11).InthehistoryofChineseAesthetics,Zhuangziwasessentialfortheinformationof10 M.A.DissertationofChongqingUniversityChapterTwoLiteratureRevieworiginaltexts.ThentheresearchontheaestheticthoughtsofZhuangziwasdevelopedwereprofoundly.AccordingtoGuoChao’s(2009)statistics,sincetheearly1980s,thereareaboutadozenmonographsonaestheticsofZhuangzi,andnearlyninehundredspapersaboutitwererecruitedontheNetofChineseJournal.Besides,MasterandPh.D.degreethesis,andtheotherpapersrelatedtotheaestheticsofZhuangziwerenumerous.Guoclassifiedthesestudiesintofollowingaspects.Thebasictheoryresearchstudiedthebasicaesthetictheoryandthoughts.Thecomparisonresearchmadeacomparisonwiththewesternaestheticculture.TheecologicalaestheticsresearchexploredtheEcologicalAestheticsinZhuangziandusedittosolvetheseriousecologicalproblems.Theresearchonaestheticsurvivalprovidesawaytoadjustpeople’spsychologies.However,peoplehavetoacknowledgethatZhuangzididnotmakeliteratureandartastheaestheticobject.Heactuallytalkedabouttheaestheticsonthebasicofhumanlife.BaoZhaohui(2004)figuredoutthatscholarsmadeZhuangziastheiraestheticresearchobjectjustbythewesternaestheticconceptionorsomecommonunderstandingsofaesthetics.TheydidnotconsiderthespecialnatureofaestheticsinZhuangzifromthetextitselfanditshistoricalcontext.GuoChao(2009)alsopointedoutthatZhuangzididnotmaketheobjectsofbeautyandartasitstheoreticalconclusion.Instead,itwasitsexperienceandrealmofTaoandtheaestheticexperienceofarthappenedtocoincide.TheaestheticsofZhuangziiscloselylinkedtohisphilosophyoflife.Itcanbesaidthat“theaestheticofZhuagnziisanaestheticofliferealm”(NiWuye,2010:25).2.2.2ReviewonZhuangzi’sTranslationItisnaturalthatthereareagreatnumberoftranslationsforthesameimportantwork.EvenTheBiblehasanauthorizedversion,therearesomere-translatedversionscomeoutandsomeareimproved.ThebookZhuangzibegantobedisseminatedintheChinese-languagecountriesmanycenturiesago.Forinstance,accordingtoJapanesehistoricalrecords,ZhuangziwasbroughttoJapaninthefifthcentury.However,ZhuangziwastranslatedintoEnglishjustattheendofthenineteenthcentury.Zhuangzi,alsoknownasTheHolyCanonofNanhua,isaTaoistclassicwrittenbyphilosopherZhuangzi(about369-286B.C.)andhisstudentsinWarringStatesPeriod(475-221B.C.).Therearethirtythreechaptersinthebook,includingsevenInnerChapters,fifteenOuterChapters,andelevenMiscellaneousChapters.Inthisbook,ZhuangziinheritedanddevelopedLaozi’s(about571-471B.C.)viewof“thewaysofTaobeingconditionedbytheself-so”.HetookTaoastheoriginoftheworld,andthoughtthat11 M.A.DissertationofChongqingUniversityChapterTwoLiteratureReviewTaowasself-sufficientandeternal,andthedifferencesbetweenthingswererelative.Zhuangziadvocatedanoutlookonlifeof“non-actioninfaceofnature”.Hepursuedpersonalfreedomofbodyandmind,andheadmiredforcompletelibertyandharmonybetweenhumanandnatureonspirituallevel.ItisgenerallyacknowledgedthattheinnerchapterswerewrittenbyZhuangzihimself,theouterchapterswerewrittenbyZhuang’sdisciples,andthemiscellaneouschapterswerewrittenbybothhisdisciplesandotherTaoistscholars.TherearecompleteeditionsandselectededitionsincurrentEnglishtranslationofZhuangzi.ThefirstcompleteEnglisheditionofZhuangziwastranslatedbyFredericHenryBalfour,anditwaspublishedinShanghaiandLondonin1881.ThetitleofthebookisTheDivineClassicofNan-hua,BeingtheWorksofChuangTsze,TaoistPhilosopher,andthiseditionhasbeenoutofprint.AccordingtoHerbertA.Giles,thequalityofthiseditionshouldnotbetrusted,forBalfourdidnothaveenoughknowledgeofChineselanguage(WangRongpei,1999).In1889,anothercompletetranslationofZhuangziwaspublishedbyB.QuaritchPublishingCompany,andthetranslatorwasHerbertA.Giles.Thisversion,ChuangTzu:Mystic,Moralist,andSocialReformer(thetitlewaschangedinitssecondeditionintoChuangTzu:TaoistPhilosopherandChineseMystic),iswritteninVictorianEnglish,therefore,itisdifferentfromcontemporaryEnglish.ItisacknowledgedthattherearesomanysubjectiveopinionsinGiles’translationthattheunderstandingstothearticleareinfluenced.WangRongpei(1999)thuscommentedthatthiseditionwasnotaspopularasthetranslationdonebyJamesLegge.Legge’stranslationTheWritingsofKwang-tszewaspublishedin1891.WangRongpei(1999)statedit“isanauthenticEnglishrenderingofthebook”(p.72).XuLai(2005)alsostatedthatthelatertranslatorscouldlearnalotfromthisedition.Inthetwentiethcentury,thefirstcompleteEnglishtranslationofZhuangziwasdonebyJamesR.Ware.Thisedition,TheSayingsofChuangChou,waspublishedbyNewAmericanLibraryin1963.ButitdidnotacquirefavorablecommentfromBurtonWatson.In1968,BurtonWatson’seditionTheCompleteWorksofChuangTsuwaspublishedbytheColumbiaUniversityPress.IthasbeenregardedasoneofthebesttranslationsofZhuangziintheEnglishlanguage(WangRongpei,1999:73).In1994,BantamBooksPresspublishedVictorH.Mair’scompletetranslationWanderingontheWay:EarlyTaoistTalesandParablesofChuangTzu.Thistranslationdoeshaveitssingularfeatures,butWangRongpei(1999)arguedthatitstillneededtobeanalyzed.WangRongpeipublishedhiscompletetranslationZhuangziin1999.SinceZhuangzihasbeenintroduced12 M.A.DissertationofChongqingUniversityChapterTwoLiteratureReviewtothewest,itisthefirstcompleteEnglishversionthatisfinishedbynativeChinese.TheselectedtranslationsofZhuangzialsoplayimportantrolesinitstranslationhistory,suchasGraham’stranslation,FengJiafuandJaneEnglish’stranslation,FengYoulan’stranslation,andsoon.Zhuangziachievedtheuniversalreputationofhisliteraryachievements.“SimaQian(145-87B.C.)saidthathislanguagewas‘unique’andlatercriticssaidthathislanguagewas‘extraordinary’,‘variable’and‘peculiar’”(WangRongpei,1999:57).Zhuangzi’sprosehasbeenlearnedandimitatedbyscholarsfromtheHanDynasty.However,theresearchonZhuangzi’stranslationisnotinlargenumber.Currently,thereareWangRongpei’s(1995)paperCommentsonZhuangzi’sTenVersions;YaoXiaopingdidtheresearchonthetranslationofTao;someforeignscholarsalsowrotesomearticlestodiscussthetranslationofZhuangzi,suchasBritishsinologistAngusCharlesGraham(1919-1991)wroteTwonotesontheTranslationofTaositClassics,discussingthetranslationsofLaoziandZhuangzi,andArthurWaley(1888-1966)wroteTheWayandItsPower,andAmericansinologistRobertE.AllinsonwroteChuang-TzuforSpiritualTransformation(XuLai,2005).ThesearticlesmoreorlessdiscussthetranslationofZhuangzi.Besides,therearesomethesesabouttranslationsofZhuangzifragmentslikeZongFuchang’s(2000)paperOntheEnglishTranslationof“ZhuangZhouMengDie”,whichdiscussesthetranslationfromthecovertnessofChinesegrammar;YuShuping’s(2003)thesis,theComparisonbetweenTwoVersionsof“OntheEqualityofThings”,discussesfromhermeneutics.AlltheseresearchesonZhuangzianditstranslationprovidethereferenceforthefurtherstudies.13 M.A.DissertationofChongqingUniversityChapterThreeTheoreticalBasisCHAPTERTHREETHEORETICALBASIS3.1IntroductiontoAestheticsAesthetics,whichhasalonghistory,isamodernterm,andithasalargenumberofdefinitions.ThereisadistinctdefinitionofAestheticsinCihai(1999):itisthesciencethatdoestheresearchonaestheticrelationshipandaestheticawarenessbetweenmanandreality,andexploresthecreation,developmentandthelawsofthebeauty.ItisgenerallyacknowledgedthatthetermiscreditedtotheGermanphilosopherAlexanderBaumgarten(1714-1762).Baumgartenwasapartofthecontinentalphilosophicalmovementwhichwasknownasrationalism.Therationaliststriedtoreconcileexperienceandsciencewithanoverarchingrationalprinciplethatassuredorderandcertainty.Baumgarten’staskwastofittheimmediateexperiencesofsenseintothatrationalistscheme.Hecoinedthewordaestheticsfortheindependentrealmoffeelingthathaditsownreasonsandscience.Thetermaestheticscapturesanareaoffeeling,thepeculiarpleasuresofartandnaturethatarestudiedandvaluedfortheirownsake.Experience,forbothrationalistsandempiricists,becamefundamentaltotheabilityofknowinganything.Sinceaestheticsdirectlyappealedtosense,italsocouldbeunderstoodasanewformofknowledge.Senseandknowledge,rulesforproducingartandwaysofexperiencingit,andthequestforstandardsinachaoticnewfielddominatedmodernaesthetics(Townsend,2004).ThepublicationofBaumgarten’sAestheticsmarkstheofficialappearanceoftheaestheticsasanindependentdisciplineintheWest(MaoRonggui,2005).AestheticawarenesswasalsostudiedinancientChineseculture.AestheticthoughtbeganwithConfucius(551-479B.C.)whoadvocatedthattheperfectharmonyliesintheintegrationof“supremebeautyandsupremegood”(LiuMiqing,2006:114).ThebeautywasdiscussedbyLaozi(571?-471B.C.),Kongzi(551-479B.C.),Zhuangzi(369?-286B.C.),Mengzi(372-289B.C.)fromtheirphilosophicalperspectives.However,thebeautydidnotbecometheindependentscience---aesthetics---inancientChina.Italwaysadheredtomoralnoumenonoruniversalnoumenon(MaoRonggui,2005).AlthoughChinesehaduniqueaestheticandarthistory,themodernaestheticsubjectwasintroducedfromtheWest.Intwentiethcentury,theaestheticswasintroducedinChinafromJapan,WesternEurope,andtheformerSovietUnion.IthasbeenplayingasignificantroleinChineseacademia.AccordingtoMaoRonggui(2005),aestheticshastwodifferentuses.Oneistodiscusstheaestheticsfromaesthetic,anditadvocatesthat14 M.A.DissertationofChongqingUniversityChapterThreeTheoreticalBasisaestheticsistheknowledgeofbeauty.Theotheristodiscusstheaestheticsfromsense,anditupholdsthataestheticsistheknowledgeofsensation.Bothofthesemethodshavetheirrespectiverationalities.Theformermethodfocusesonthebeautyandart,andgetsclosetoancientaesthetics.Thelattermethodemphasizesthebeautyingeneralfeelingsanddailylife.Therefore,itissuitabletocombinethesemethodstogether,andtodotheanalysisonvarioussubjects.3.2TranslationAesthetics3.2.1DefinitionTranslationaestheticshasalonghistoricaldevelopmentinChinaandthewesternworld.However,translationaestheticshasaparticularrootinChinesetraditionaltranslationtheory.ItisconsideredthatthetranslationaestheticsisthebasicfeatureofChinesetraditionaltranslationtheory.InthebookYixueCidian,translationaestheticsisdefinedasthis:torevealtheaestheticoriginsoftranslation;toexplorethespecialsignificancethattheaestheticshasintranslation;tounderstandthescientificandartisticqualityoftranslationfromaestheticpointofview;toproposedifferentaestheticstandardstothetranslationofvariousstyles;toanalyze,explainandsolvetheaestheticproblemsintranslation.Aestheticobjectandaestheticsubjectshouldbefullyunderstood.Onthisbasis,toanalyzetheaestheticcompositionoftheobjectandthedynamicroleofthesubject;toclarifytherelationshipbetweentheaestheticsubjectandobject;toprovidethetypesandmeanstotheaestheticrepresentationintranslation;toguidethepracticeoftranslationintheend(FangMengzhi,2004).AccordingtoFangMengzhi’s(2004)definition,MaoRonggui(2005)proposedhisopiniontoaesthetictranslation,“thetargetthattranslationaestheticsstudiesaretheaestheticobjects(originandtranslation),aestheticsubjects(translatorandreader),aestheticactivity,aestheticjudgment,aestheticappreciation,aestheticstandard,andaestheticcreationintranslation”(p.7).InDictionaryofTranslationStudies(Shuttleworth&Cowie,2004),thereisalsoatermaboutaestheticsandtranslation------aesthetic-poetictranslation.AccordingtoCasagrande,itisoneoffourtypesoftranslation.“Casagrande’sclassificationrelatestothepossiblepurposeswhichmayliebehindtheactoftranslation;aesthetic-poetictranslationthusreferstothetranslationofpoetictexts,whereitisnecessarytoretaintheexpressiveandstylisticfeaturesoftheauthor’sworktoaslargeanextentaspossible.15 M.A.DissertationofChongqingUniversityChapterThreeTheoreticalBasisCasagrandestatesthat,whilethecontentisclearlyimportant,‘expressconsiderationisgiventotheliteraryoraestheticformofthemessageinbothlanguages’”(Shuttleworth&Cowie,2004:7).3.2.2DevelopmentThenatureofbeautyandtherelationshipbetweenthebeautyandthetruthhavealwaysbeenconcernedinaesthetics.LiuMiqing(2006)statedthattherewasahistoricaltiebetweenaestheticsandtranslation.Thefirstexplorationinthisdirectioncanbedatedbackto220to230A.D.,thefamousBuddhismtranslatorZhiQianquotedLaoZi’smaxim“beautifulwordsarenotfaithful,andfaithfulwordsnotbeautiful”,andthisisthewell-knowncontroversyof“beautyvs.truth”.ThistopichasbeenhungonforseventeencenturiesinChina.Soonafterwards,researcherslikeKumarajivaandXuanZangdoubtedtheprinciplethatZhiQianproposed.Theydidnotsupporttheextremelyliteraltranslation.Kumarajivaadvocatedfreetranslation,andXuanZangemphasizedontheaccuracyandgeneralknowledge(LiuMiqing,2005).Sincethen,thetranslationwasrequirednotonlytobefaithfultothesourcetext,butalsotobereadabletothetargetlanguagespeakers.Confuciusadvocatedtheperfectharmonyintheintegrationof“supremebeautyandsupremegood”andproposedtheaesthetictrendinthought.AfterConfucius,anotherConfucianphilosopherMenciusdiscussedtheunitybetweenthebeautyandthetruth.In1894,inhisarticleOnEstablishingaTranslationInstitution,MaJianzhong(1845-1900)raisedrequirementsof“ShanYi”foragoodtranslation(TranslatorsAssociationofChina,1984:2).Later,YanFu(1854-1921)developedMa’stheory,andproposedhisthreeprinciplesof“faithfulness,expressiveness,andelegance”,whichcouldbeseenintheprefaceofhistranslationEvolutionandEthicsandOtherEssays(TranslatorsAssociationofChina,1984:6).ThesethreetranslationprinciplesproduceaprofoundeffectonChinesetranslationstudies,andtheyarestillsupportedbymanyChinesescholarsintheirtranslationinnowadays.DuringtheperiodoftheOpiumWarsandtheMayFourthMovement,LuXun(1881-1936)discussedthetranslationandpointedoutthattranslationworkshouldbe“smoothincontentandfaithfulinexpression.”Inhisview,translationwascreative,butthiscreationwasdifferentfromliterarycreation.Itshoulddependontheoriginaltext(SunYingchun，2001).In1920sand1930s,ChenXiyingraisedtheconceptof“formal,notationalandspiritualcloseness”andLinYutangalsoproposedhisnotion“transferenceofmeaningandconveyanceofspirit”(SunYingchun，2001).In1950s,FuLei16 M.A.DissertationofChongqingUniversityChapterThreeTheoreticalBasis(1908-1966)figuredouthistranslationproposition.Hediscussedthedilemmapositionofatranslatorandsaidthatatranslatorshouldsacrificeappearancetospirit(SunYingchun，2001).QianZhongshu’s(1910-1998)translationtheoryshouldnotbeomitted.In1960s,hebroughtsublimationtheoryintoliterarytranslation.SublimationisawordinBuddhism,anditstandsforaprocessthatthesoulorspiritentersintoanotherbodyorobject.Qianpointedthatthesoulorspiritoftheoriginaltextcouldbemaintainedinthetargettexteventhoughthelanguagewaschanged(TanJianxiang&TangSuzong,2010).After1970s,translationtheoriesweregraduallystudiedbythedescriptiveapproach.Thetheoryoftranslationaestheticsbecameclearer.AmericantranslatorBassnettandLefevere(2001)wroteConstructingCultures:EssaysonLiteraryTranslation,whichstoodforthetransferenceofcultureintranslation.Thetranslationaestheticstheorycameoutafterthen(SuiRongyiandLiFengping,2007).UmbertoEcoviewedtranslationasidenticaltoculture,andLambertandRobinsviewedtranslationlessasaninterlinguisticprocessandmoreasanintraculutralactivity(Gentzer,2004).Asoneoftheculturalcategories,aestheticswasrenewed.SuiRongyiandLiFengping(2007)viewedXiYongji’sbookComparativeStudyofTranslationAestheticsasthesproutofthetheoryoftranslationaesthetics.Inthisbook,XiYongji(1993)statedthatmaybeatranslatorshoulddosomeimaginationsandheshouldcreatenewsenseofaestheticbyhisabundantideas.Thatistosay,atranslatorisalsoanauthor,andhemustbeexpertininspiringhisreaders’imaginations,fortheimagesinoriginaltextcanonlybefinishednotonlybythetranslator---thefirstreader,butalsotheappreciator---thesecondreader.LiuMiqingconsideredthataestheticsplayedasignificantroleintranslation,anditwasthedistinctfeaturethattranslationcombinedwithaesthetics.Heproposedthattherewerethreecharactersinliterarytranslationaesthetic:intranslationaesthetic,translatormustmakehispsychologicalstructureinaveryactivestate;intranslationaesthetic,translatormustcorrecttheunderstandingoftheoriginaltextbyimagination;intranslationaesthetic,translatormusthavethesamefeelingwiththeoriginalauthor(LiuMiqing,2005).Thesethreecharactersplayedanimportantroleintranslationpractice,andthetheoryoftranslationaestheticswasconstructedinLiu’sIntroductiontoTranslationAesthetics.2005sawthepublicationofTranslationAesthetics.Thebook’sauthorMaoRongguimadeacomparisonbetweenChineseandEnglishinsystemfromaestheticperspective,andproposedtherelativemethodsintranslationpractice.Thestudyoftranslation17 M.A.DissertationofChongqingUniversityChapterThreeTheoreticalBasisaestheticsbecamemoresystematicandcomprehensive.3.2.3RelationshipbetweenTranslationAestheticsandZhuangziCulturaldiversityisthebasicforminhumanculturalexistence.ChineseancientbooksareahugeculturalheritageforbothChinaandtheworld.AsoneofthemostsignificantZhuziProses,Zhuangziisdisplayedunusualimaginationwithromanticexpressions.Inhiswriting,Zhuangziimprovedhisprosetoahigherstage,thatis,from“dialogues”to“essays”.ThereismuchrhetoricinZhuangzisuchasmetaphor,hyperbole,parallelism,antithesis,repetition,andsoon.Therefore,theseessaysarehighlypersuasivewithartisticappeal,andtheseessaysareseenasabsolutelybeautifulprose.Furthermore,therearefourcharactersinancientChinese.First,itsphonologyisbeautiful,simpleandcatchy.Second,itisdominatedbymonosyllabicwordswithhighlyconcentratedmeanings,whicharefullofartisticconceptions.Third,ancientChineseisexpertinemptywords.Itcombineswithrealmeaningandmakesthearticleinrhythmandvividness.Fourth,thequalityofspeechisoftenappliedflexibly,whichalsomakesthearticlevivid(FengQinghua,2002).Literatureisanarttocreateartisticconceptionandtoshowthethoughtsandfeelingsoftheauthor.ItisknownthatZhuangziistheliteraturewithaestheticelements;therefore,thetranslationofZhuangzi,especiallyitsartisticconceptioncanbestudiedinaesthetics.3.3AestheticElementsinTranslationTwo-thousandyearsseethedevelopmentoftranslationaesthetics.InFuZhongxuan’s(1993)book,heraisedthattheelementsintranslationaestheticsincludedaestheticobjects,aestheticsubjects,aestheticactivity,aestheticstandard,andsomemethodsofaestheticrepresentation.Linguisticknowledgewasstillinvolvedinhisresearchingmethod.Afterhim,LiuMiqing(2005)didfurtherstudyanddiscussedtheseconstituentsinhisbookIntroductiontoTranslationAesthetics.3.3.1AestheticObjectsAestheticobjectreferstotheconcretethingsthatpeoplereachintheiraestheticactivities.Anythingintheobjectiveworldcancomeintopeople’svisionandanyobjectwithaestheticvalueshouldhavethebasicfeatureofperceptibility.LiuMiqing(2005)proposedthatthetranslationaestheticobjectwastheoriginaltextwhichwastranslatedbytranslator.Wehaverealizedthattranslationincludestwolanguages,sothereshouldbetwoaestheticobjects---thesourcetextandthetargettext.FuZhongxuandividedthe18 M.A.DissertationofChongqingUniversityChapterThreeTheoreticalBasistranslationobjectintothefollowingaspects:thesourcetextasthesecondreality;thetranslatedoneasthethirdreality;theuntranslatablepart.Thenhegaveadetaileddescriptiontotheseparts.LiuMiqing(2005)didafurtherresearchandproposedamoreconciseclassification:theformalsystemandthenon-formalsystem.MaoRonggui(2005)setahighvalueonLiu’ssystematicexplorationoftranslationaesthetics.HesaidthatitwasLiuMiqingenhancedthetranslationaestheticstoabrand-newlevel,andafterhim,translationaestheticsbecameoneofthemainconstituentsinChinesetranslationtheory.Therefore,inthisthesis,theauthorwilladoptLiu’sdescription.①FormalSystemAccordingtoLiuMiqing’sopinion,theformalsystemcanbedividedintothefollowingaspects:phoneticlevel,characterlevel,wordlevel,discourselevel.Theyarevisuallyoraudiblyperceptible.Soundisoneofthebasiclanguageformsthatbeartheaestheticinformation.Beat,tone,andrhymeareinvolvedinit.ThebeautyofsoundispopularinChineseclassicalpoemsandprose,sothetranslationwillnotgiveupthisconstituent.Characterlevelmainlycomesfromvisualinformation.IthasmorefeaturesinChinese.ComparingwithEnglish,Chinesecharactersare“moregraphicalandideographical”(LiuMiqing,2005).Mostofthetime,itisthepartthatcannotbetranslatedintoforeignlanguage,forChineseandEnglisharecompletelydifferentinform.Translatorshavetofindothermethodstodothecompensation.Wordleveliscomposedbycharacter,morphemeandsyllable,andithasstrongercapabilitytobeartheaestheticinformation.LiuMiqing(2005)statedthatthewordthathadaestheticvaluesmustbeselectedbytheoriginalauthor,soitmustmeetthe“ABC”standard.LetterAstandsforappropriateness.Itmeansthewordexpressestheoriginalmeaningcorrectlyandmeetstheregister,grammarandlogic.LetterBstandsforbeauty.Itreferstothequalityofbeingabletogivepleasuretothemindorfeelings.LetterCreferstocompactness,whichmeansnottobeverbose.TheseABCstandardsareverycommoninChineseclassicalliteratures.Discourselevelisalsocalledtheformofwritinginsentencesandparagraphs.Theaestheticinformationinsentencesandparagraphscanberecognizedfromtheformofwriting.Thatistosay,thesenseofbeautycanbecreatedbywritingforms,suchassyntacticdeviationortheharmoniousunityingivenregister(LiuMiqing,2005).②Non-formalsystemBesidesthetangibleorvisualformalsystem,therearesomeelementslikecontent,19 M.A.DissertationofChongqingUniversityChapterThreeTheoreticalBasisartisticconcept,style,etc.inaestheticobject.Theyarenotexteriorandcannotbesensedaudio-visually.Therefore,theyarecallednon-formalsystem.Butwemustrealizethatitisarelativeconception.Althoughthesenon-formalconstituentsdonotexistintheconcretesound,rhyme,wordortext,theymustdependontheseelements.Theyexistasawhole.LiuMiqing(2005)stateditwasthedistinctcharacterinChinese------theintegration.Twoaspectsofnon-formalsystemwillbediscussedinthefollowingpart.1)Emotion“Poetryspeaksthemind”(诗言志)istheprimarypropositioninChineseclassicalart.Thatistosay,anauthor’smindoraspirationshouldbepresentedinhiswork.LiuXie(465-520)considered“mind”and“emotion”together,andviewed“mind”and“emotion”asthebasicaestheticvalue.Intranslationaesthetic,theemotionoftheauthorinsourcelanguagehastobemastered,whichisusefultosetthecriterionfordeterminingthechoiceofwordsandthetranslationoftheoverallstyle(LiuMiqing,2005).Inwesterntraditionalaesthetics,itisgenerallyconsideredthattheemotionisafunctiontorecognizethebeauty.Infact,emotionisnotmerelyakindofrecognition;itisabasicandthemostactivepsychologicalfactorwiththeindividualsenseintheaestheticprocess.Becauseofthis,theemotioninliteratureandartisticworksisalsovaried.Theauthorobservestheobjects,sotheobjectswillshareauthor’sfeelings.2)Imagesand“ImagebeyondImage”Imageisakindofformthatispresentedbylanguage.Itischosenbyauthor’saestheticexperienceanditiscombinedwithauthor’sthoughtsandfeelings(ZhangYaqing,2007).Itisthecombinationbetweenauthor’ssubjectivefeelingandexternalnature(LiuMiqing,2005).Theimagedisplaystheauthor’sfeelingsandthoughts,andimagesareknownasthecarriersofartisticconception.JiangQiuxia(2002)gavetheopinionasfollows:“Image-buildingintranslationissimilartoinferencedrawingandgistconstruction,butmorethan,forimageisbuiltnotonlyontheinherentmeaningandgeneralidea,butalsoontheaestheticconsistency”(p.49).Thesuccessfulimagecanevokereaders’visualimaginationandstrengthenthesenseofartisticconception.“ImagesbeyondImages”derivesfromimage,anditisasignificantaestheticconstituentinartisticconception.Itisakindofimplicitbeauty.Thelatterimagein“imagebeyondimage”istherealmaterialinwords,andtheformeroneisthefictitiousimage,whichexistsinimagination.IntheancientChineseliterarytheorists’view,“imagebeyondimage”cancreategreatartisticeffect,andevokereaders’imaginationandtheirindividualaspirationsintheend.SituKong(837-908A.D.)statedthatthis“imagebeyond20 M.A.DissertationofChongqingUniversityChapterThreeTheoreticalBasisimage”wasalwayspursuedinartisticconception(LiuMiqing,2005).InthefirstchapterofZhuangzi,twoanimalsKunandPengaredescribed.Withthedescriptionofthesetwoanimals,Zhuangziexpressedhisextensivethoughtandhisidealsoffreedom.Therefore,inthisexample,KunandPengaretheimages,andtheextensivethoughtandidealsoffreedomarethe“imagebeyondimage”thatZhuangziwantedtoconstruct.Intranslation,bothimageand“imagebeyondimage”havetobeconsideredcautiously.③SummaryAestheticobjectismadeinanopensystem.Firstly,itexistsinfuzziness.Itmeanstheformsofaestheticisvariousandendlessintheobjectiveworld.Aestheticrequirestobemasteredinoverall.Secondly,thebeautyofaestheticobjectcanonlybemeaningfulwhencombineswiththeparticularaestheticsubject.Theinterplayhastobeemphasizedbetweentheobjectandthesubject,whichcanmakethesenseofbeautycomeintobeing.Thirdly,translationaestheticobjectisopennessinsemantics,forms,andaestheticsubject’sattitude.Therefore,thebeautyhastobemasteredandunderstoodinconcretesituation.“Man’sexhumationofbeautywillneverend”(LiuMiqing,2005).3.3.2AestheticSubjectAestheticsubjectreferstothepeoplewhodotheaestheticactivitytotheaestheticobject.Intranslation,theaestheticsubjectisthetranslator(LiuMiqing,2006).Inaesthetics,thetranslatorisnotjustagooduseroflanguage.Beforethat,hemustbeanaestheticianoflanguage.AccordingtoLiuMiqing(2006),atranslatorshouldmeetthefollowingrequirementstostrivetobequalified.Thefirstrequirementisartisticaccomplishments.Itneedstobetrainedandcultivated.Thetranslatorisexpectedtobeabletoextracttheaestheticvaluefromthesourcelanguage.Therefore,translatorsareexpectedtobe“specializedgeneralist”(LiuMiqing,2006).Thesecondoneisaestheticidealintranslation.Judgmentsandvaluesofaestheticsareattainedfromaestheticexperience.Theyaregenerallyguidedbytheaestheticidealofthesubject.Butintranslation,theaestheticidealoftranslatorissubjecttotheauthor’saestheticidealinsourcelanguage.Besides,itisalsosubjecttodiachronicandsynchronicinfluences,andtranslatabilityofthetext(LiuMiqing,2006).Thethirdoneisthesystemofaestheticconsciousnessintranslation.Itreferstotheoverallreflectionandreactionoftheaestheticsubjecttotheoutsideworld.LiuMiqing(2006)gaveatabletodescribethetranslator’saestheticconsciousnessprocessintranslation.Theyareperceptionalstage,cognitionalstage,rationalstage,andthe21 M.A.DissertationofChongqingUniversityChapterThreeTheoreticalBasisaestheticsubject’sreadjustment.Theseprocessesarecorrespondentwiththegenerallawofaestheticexperienceintranslation.Besides,peoplehavetoacknowledgethattranslatorsdonotjustaccepttheinformationofsourcetextinpassive,andtheyalsotakepartinthetranslationaestheticactivityininitiative,andtheirintrinsicaestheticcognitionswillevaluatethesourcelanguagetextinthetranslation.22 M.A.DissertationofChongqingUniversityChapterFourCaseStudy:TransferenceOfArtisticConceptioninZhuangziCHAPTERFOURCASESTUDY:TRANSFERENCEOFARTISTICCONCEPTIONINZHUANGZIAsthebasicTaoistclassic,ZhuangziisconsideredtobetheclassicliteraryworksecondtoTaoTeChinginChina’shistory.Ithasaprofoundinfluenceonthedescendants.Inthecurrentglobalculturalexchangeenvironment,itseemsthattheTaoistphilosophyhasastrongattractiontothewesternpeople.Sincethemid1980s,Taoistphilosophyhasobtainedincreasingrecognition.AmongTaoismclassicaltexts,TaoTeChingandZhuangzishouldbethefirstchoicetoread.ComparingwithTaoTeChing,Zhuangzihasastrongerartisticvalueandartisticconceptionintheliteratureofprose.Therefore,theauthorofthisthesischoosesZhuangzianditstranslationastheresearchtarget.4.1ReasonsofChoosingtheTwoVersionsIn4.1,thetranslationsofZhuangziindifferentperiodsandbydifferenttranslatorswithdifferentfeatureshavebeenintroduced.Inthisthesis,theauthorwillchooseWangRongpei’sandBurtonWatson’stranslationversionasthemainexampletodotheresearchonthetranslationofZhuangzi.Althoughthesetwoversionsareproducedindifferentperiods,theyaresuitableexamplestopresentvarioustranslationsofforeigntranslatorandnativetranslator.AccordingtoWangRongpei(1999),Watson’sversionisrecognizedasoneofthebesttranslationsinEnglishlanguage.WangRongpei(1999)commentedthatWatsonusedfluentcontemporaryEnglish,occasionallywithcolloquialismsandslangs.“Incertaincases,heusedwordsinpairstomatchwiththeChineseoriginal.Histranslationiseasytoreadandeasytounderstand”(p.73).Watson’sversion“hasbeenacceptedintheChineseSeriesoftheTranslationCollectionoftheUnitedNationsEducational,ScientificandCulturalOrganization”topresentChineseclassicliterature(p.73).WangJianrong(2007)alsocommentedthatinWatson’sversion,heusedsmoothandfluentmodernEnglishtoconveytheoriginalphilosophyfaithfullyandappropriately.Meanwhile,theculturaldifferencesbetweenthetwolanguageswereconductedwell.Inacademiccommunity,Watson’scompleteEnglishversionofZhuangziisrecognizedasthebetteroneinZhuangzi’stranslations(LiXiuying,2008).WangRongpei’sversion,theotherversioninthisthesis,isthelatestonetillnow.ItisknownthatwithinthecenturiessinceZhuangziwasintroducedtothewesternworld,therehavebeenfivecompleteEnglishversions.Alltheseversionsaredonebythe23 M.A.DissertationofChongqingUniversityChapterFourCaseStudy:TransferenceOfArtisticConceptioninZhuangziwesterners.AccordingtoWang’sopinion,westernershavedifficultiesingraspingtheessenceoftheChineseclassicalbooks.Therefore,hedidthistranslationandstrivedtoworkoutabettercompleteEnglishversionasanativeChinese,andtriedto“presentZhuangziinhistrueidentitytothewesternreaders”(WangRongpei,1999).ZhangYingxianandZhuangXiaobo(2003)commentedthatasaresponsiblescholar,WangRongpeiabsorbedachievementsinZhuangzi’sresearchandstudieddifferentversionsofdifferentforeigntranslatorsanddifferenttimes.Hesummedupothertranslators’successfulexperience,andtookaninnovativemethodtodohistranslation,whichmadethelatestversionfullofuniquecharmandacademicvalue.XuLai(2005)alsocommentedthatthetranslatorWangRongpeireferencedtothelatestresearchonZhuangzi,besides,thetranslatorhimselfhadprofoundChineseculturalbackgroundandhighqualifiedEnglishcapability,therefore,thistranslationwaspraisedbydomesticscholars.4.2AestheticFeaturesinZhuangziInChapterthree,3.3.1,theauthorhasdiscussedtheaestheticelementsinaestheticobjects.Theyareclassifiedasnon-formalsystemandformalsystem.Zhuangzialsomeetsthesesystems.InZhuangzi,non-formalsystemandformalsystemcanalsobeconsideredasmacroscopicaspectsandmicrocosmicaspects.4.2.1MacroscopicAspectsIngeneral,Zhuangziiswritteninapoeticattitude.Insteadofusingtheconceptofsymboliclanguagetodothediscussiondirectly,Zhuangzipreferredusingimagelanguageanddepictingspecificandvividimagestoexpresshisabstractconcepts(XuLai,2005).Zhuangziisconsideredtobethebookwithopenstyle.Itistheprosewithpoeticlanguagerhythmsandflavour.Therefore,itdemandstranslatorstograspthetextoverall.Thenon-formalsubstanceslikeemotions,imagesandimagebeyondimageinthetextarethedifficultpartstotranslate,whicharethewell-knownpartsinartisticconception.4.2.2MicrocosmicAspectsMicrocosmicaspectscanbeseenastheformalpartsinZhuangzi.ZhuRongzhisummarizesfivelanguagefeaturesinZhuangzi(XuLai,2005).Theyaretheamazingsuccinctwords,charmingreduplications,firmingrepetitions,ingeniouscomparisons,andstrengtheninghyperboles.TheseexternalfeaturescomposeZhuangzi’sromaticartisticexpressionsandshowtheillumination,sensationandthesenseofbeautyinZhuangzi.LiuMiqing(2005)statedthatexternalformsalwayscombinedwithcognitionorartisticconception.Hestatedthatbothcognitionandformsthroughthewholeaestheticactivity,24 M.A.DissertationofChongqingUniversityChapterFourCaseStudy:TransferenceOfArtisticConceptioninZhuangziandduringcombinationofthebinaryelements,theinternalmeaning(artisticconception)waspresentedthroughconcretelanguageform.Thatistosay,theformisthefoundationandstartingpointtoexploretheartisticconception.Therefore,theseexternallanguagefeaturesplayimportantroleintheconstructionofartisticconceptioninZhuangzi.Andtheyaretheintricatepartsthattranslatorshavetogetdealwith.4.3TransferenceinFormalSystemItisacknowledgedthataestheticsubjectshaveindividualcognitionstotheaestheticobjectsintranslation,buttheyalmosttakethesamemethodtoreproduceandtransferaestheticsinoriginaltext.Thismethodisimitation.Imitationisabasicmeasuretorepresenttheaesthetics.Itiserroneoustodenytheviewpointthatimitationhasartisticandfunctionalvaluesintranslation(LiuMinqing,2005).Liuimprovedthesimpleimitationtoahigherlevel------dynamicimitation.Dynamicimitation,basedonthedynamicequivalence,isestablishedonthecombinationbetweensource-language(SL)orientedrepresentationandtranslated-language(TL)orientedrepresentation.Therefore,thedynamicimitationistodothetranslationinoptimum,respectivelyonthebasisofSLorientationandTLorientation.Liustatedthatindynamicimitation,translatorsweredemandedtotakemorecapabilitiesinaccommodation.Therearefourfeaturesindynamicimitation.First,dynamicimitationgetscloseoralmostgetsclosetotheoriginalmeaning.Second,translatorsgetdealwiththeformalbeautyflexibly.Third,translatorspersistinthebestreadabletranslationanddonotneglectthecultureinformationinoriginaltext.Fourth,theimitationonoriginalbeautytohigherlevelispursuednotonlyfromformalaspects,butalsofromnon-formalaspects(LiuMiqing,2005).Intranslation,theformalaestheticsoftheoriginaltextorartisticconceptioncanbetransferredthroughdynamicimitation.4.3.1SuccinctWordZhuangziwasanexpertinusingsuccinctword,whichmadehisarticleconcisebutmeaningful.Inhisworks,lessthantenChinesecharacterswouldconstructaprofoundmeaning,orconstructacompletedepictiontotheemotions.Chinese,especiallytheancientChinese,isbrieferandmoregeneralthanEnglish(LiuWei,2009).Sometimes,onesimpleancientChinesecharacterneedstobeexplainedbyseveralEnglishwords.BecauseoftheobviousdifferencesbetweenChineseandEnglish,itisdifficultintranslating.TheverycommonsuccinctwordinZhuangziisthereduplicationofthetwosame25 M.A.DissertationofChongqingUniversityChapterFourCaseStudy:TransferenceOfArtisticConceptioninZhuangzicharacters.ItisknownthatthereduplicationhasbeenusedasearlyasinthebookShijing.ItplaysanimportantroleinconstructingthebeautyofsoundinChinese,especiallyinChineseclassicalbooks.Richvisionscanbedepictedbytwocharacters.ThereduplicationsinZhuangzianditstranslationswillbediscussedinthefollowingpart.①Example1:原文:天之苍苍，其正色也？(p.2)WangRongpei’sversion:Doestheskydisplaythebluenessasitstruecolour?(p.3)Watson’sversion:……theskylooksveryblue.Isthatitsrealcolor,orisitbecause②itissofarawayandhasnoend?(p.1)ThesetwoChinesecharacters“苍苍”arecommoninChinesetext,whichareusedtodescribethecolour,suchas“白发苍苍”,“蒹葭苍苍”.Accordingtotheoriginaltext,“苍苍”arethetwowordstodepictthecolourofthesky.TheauthorZhuangziqueriedwhetherthecolouroftheskywastrue.Zhuangziusedthesetwosamecharacterstodescribetheskyinboundlessnessandpresentedasenseofmisttoreaders(XuLai,2005).ItisnotdifficultforthenativereadersobtainingthebeatofthetwosameChinesecharactersandachievingthemeaningandtheimaginationoftheoriginalsentence.BothofthetwotranslatorsparaphrasedthetwoChinesecharactersonthebasisofTL-orientedrepresentation,andimitatedoriginaltextindynamic.InWangRongpei’sversion,hekeptthewholestyleofthesentence---therhetoricalquestion,whichmadethesentenceconciseandmeaningful.Buthedidnotdealwiththeproblemofreduplication.Hejustusedthedescriptiontodothetranslation.ThesamesituationhappensinWatson’sversionofthissentence.Watson’sversiongivesmoreexplanationstotheskyandgivesmorechoicestodotheimagination.Forthecompactpart,Wang’stranslationismatchtotheoriginalChinesetext.ButWatson’stranslationgivesmoretothink.AccordingtoMaoRonggui(2005),Chineseisregardedasanartisticlanguage,andstresseshintandimplication,whileEnglishattachesimportancetologicaldescription.Therefore,bothofthetranslatorsadheredtotheEnglishcharacter.Example2:原文:而独不见之调调之刁刁乎?(p.14)WangRongpei’sversion:Haveyouneverseentheswayingandwavingofthetreesandgrass?(p.15)Watson’sversion:Haveyouneverseenthetossingandtremblingthatgoeson?①.Allthequotationsfromthetextaretakenfrom:WangRongpei.Zhuangzi.Beijing:ForeignLanguagePress.1999②Allthequotationsfromthetextaretakenfrom:BurtonWatson.TheCompleteWorksofChuangTsu.NewYork:Columbia.196826 M.A.DissertationofChongqingUniversityChapterFourCaseStudy:TransferenceOfArtisticConceptioninZhuangzi(p.3)“调调”“刁刁”aretwowordstodescribethesituationthatthegrassortreesswayinginthewind.Theyalmosthavethesamemeaningandsound,andeveninChinese,thesetwopairsofwordsarenovel.Itmultipliesthedifficultiesinitstranslation.WangRongpeistrovetousestwogroupsofwords“swayingandwaving”and“treesandgrass”toimitatetheoriginalformandtocreatetheeffectinrhyme,whichwassimilartotheoriginaltextandalsopresentedasenseofbeautyinsoundinEnglish.InWatson’sversion,heusedtwovibratedverbs“tossing”and“trembling”tomeetthereduplicationinoriginaltext,andprovidedadynamicsenseinhistranslation.Meanwhile,thesetwoEnglishwordshavethesamerhymeinheadandend,andtheyalsomeettheoriginalrhymeandconveythesoundinbeauty.WangJianrong(2007:9)alsocommentedthatthesetwowords“tossing”and“trembling”rhymedatheadandend,whichtransferredagoodrhymeinsound.InthesecondchapterofinnerchaptersofZhuangzi,reduplicationcannotbemissedinthefollowingsentence:Example3:原文:大知闲闲，小知间间；大言炎炎，小言詹詹。……小恐惴惴，大恐缦缦。(p.16)WangRongpei’sversion:Menofgreatwitsareopenandbroad-minded;menofsmallwitsaremeanandmeticulous.Menofgreateloquencespeakwitharrogance;menofsmalleloquencespeakwithoutapoint…….Smallfearsmakeusillateasewhilegreatfearsmakeusutterlyataloss.(p.17)Watson’sversion:Greatunderstandingisbroadandunhurried;littleunderstandingiscrampedandbusy.Greatwordsareclearandlimpid;littlewordsareshrillandquarrelsome.……Theirlittlefearsaremeanandtrembly;theirgreatfearsarestunnedandoverwhelming.(p.3)Intheoriginaltext,thesereduplicationcharactersaredisyllabicadjectives.InEnglish,however,itisseldomtoenforcethesenseofbeautyinformorrhythmthroughrepeatingthetwosameadjectives.Sometranslatorsstrovetoimitateandfulfillthisparticularformintheirtranslation.InWangRongpei’sversion,notonlyisthemeaningofthetextshown,butthearrangementofthetextissimilartotheorigin.Basically,Wangtookaparallelapproachtomakethetranslatedtextmatchtotheoriginalone.Meanwhile,thetworeduplicationcharacters“闲闲”istranslatedintotwoadjectivewords“openandbroad-minded”,and“间间”istranslatedinto“meanandmeticulous”.Thisapproachstrengthensthemeaning27 M.A.DissertationofChongqingUniversityChapterFourCaseStudy:TransferenceOfArtisticConceptioninZhuangziofthetextandalsomeetstheoriginaltext’sstylemoreorless.InWatson’sversion,hepaidmoreattentiontothefeatureofthisreduplication,andallthephraseswithsamecharacterinChineseoriginaltextweretranslatedintotwoadjectivewords.TheoriginalfeatureisimitatedandemphasizedtotallybythesesixpairsofEnglishadjectivewords.Besides,thesesixpairsofadjectivewordshavetheircommendatoryandderogatorymeaningsrespectively,whichpresenttheoriginalmeaningaccurately.XuLai(2005)admitsthatthisimitationnotonlyexpressestheoriginalmeaning,butalsoprovidesanemphasisonmoodandidea.Althoughtranslatorstrytoreproducetheoriginalreduplicationsbymeansoftwoadjectivewords,itisstilldifficultimitatingallofthem.Afterall,ChineseandEnglishhaveverydifferentmethodstoachievetherhythm.Chinesesyllablesareloudandintegrated,andChineserhymealwaysrelyoncontrast,whileEnglishwordshavedistinctlightandheavysyllables,whichprovideapowerinEnglishrhythm(WangJianrong,2007).Therefore,throughdynamicimitation,theformalelementscanbetransferredandtheartisticconceptionofthetextcanbeestablished.4.3.2SpecialRhetoricinZhuangziAlargenumberofrhetoriccanbefoundinZhuangzi.Dingzhen(顶真)isaspecialrhetoricinChinese.Inthisrhetoric,twosentencesarecombinedtogether,andtheendoftheformersentenceisthebeginningofthefollowingone.Itmakesthewholesentencesoundconnectedandstrong.ThisrhetoricisverycommoninZhuangzi.Sometimes,itisonecharacter,andsometimesitisaphrase.Example4:原文:北冥有鱼，其名曰鲲。鲲之大，不知其几千里也；化而为鸟，其名为鹏。鹏之背，不知其几千里也。(p.2)WangRongpei’sversion:IntheNorthSeathereisakindoffishbythenameofkun,whosesizecoversthousandsofli.Thefishmetamorphosesintoakindofbirdbythenameofpeng,whosebackcoversthousandsofli.(p.3)Watson’sversion:InthenortherndarknessthereisafishandhisnameisK’un.TheK’unissohugeIdon’tknowhowmanythousandlihemeasures.HechangesandbecomesabirdwhosenameisP’eng.ThebackoftheP’engmeasuresIdon’tknowhowmanythousandliacrossand,……(p.1)InChinesesentence,thecharacters“鲲”“鹏”arethewordsattheendoftheformersentenceandasthebeginningofthenextsentence.Althoughtheyarerepeated,itdoesnotsoundprolix.However,inEnglish,thisspecialrhetoricistranslatedindynamicagain.InWangRongpei’sversion,translatorpaidattentiontotheoriginalformandused28 M.A.DissertationofChongqingUniversityChapterFourCaseStudy:TransferenceOfArtisticConceptioninZhuangziseveralattributiveclauseswiththerelativepronoun“whose”toimitatetheoriginalstructure.InWatson’sversion,therhetoricofDingzhenisalsotranslated.Actually,twotranslatorsdidnotimitatethisrhetoricstrictly.Theyimitatedtheoriginalform;meanwhile,theytookEnglishstyleasthereciprocality.LiuMiqing(2005)consideredthisreciprocalityasabasisoftranslatability,andseenitasthedynamicimitationtofulfilltheoriginalrhetoric.Thefollowingsentenceismorecomplicated:Example5:原文:夫道不欲杂，杂则多，多则扰，扰则忧，忧而不救。(p.48)WangRongpei’sversion:Taomustbekeptintact;otherwisetherewillbetoomanythingstoattendto,whichwillleadtoconfusion,andthentoworriesandfinallytodestruction.(p.49)Watson’sversion:TheWaydoesn’twantthingsmixedinwithit.Whenitbecomesamixture,itbecomesmanyways;withmanyways,thereisalotofbustle;andwherethereisalotofbustle,thereistroubletroublethathasnoremedy!(p.8)ThesameendingandbeginningcannotbefoundinWangRongpei’stranslation.WangRongpeijustusedsomeconjunctionsandrelativepronounstocombinethewholesentenceandbypassedthespecialstructure.Bymeansofparaphrase,theoriginalmeaningisshown,andtheunnecessarypartsareomitted.Althoughtheoriginalstructurecannotbeshown,itisstillnotabadwayoftranslation.XuLai(2005)alsoproposedthatthoughinancientChineseclassicalbooks,thesinglecharactercouldbearprofuseculturalinformation,itwasaprocrastinationtodothetranslatewordforword,whichwouldmaketheEnglishsoundwordy.Therefore,Wang’sversionisorientatedtotheTLtoattainthebestreadability.However,inWatson’sversion,itseemsthatheachievedthisrhetoricofDingzhenbyhisdynamicimitation.Theoriginaltextsaretranslatedintoseveralclauses,andbymeansofrepeating,theendoftheformerclausebecomesthebeginningofthenextclause.Itshouldbeasuccessfultranslationinimitationoftheoriginalform,andthetranslatedsentencessoundfluent.InZhuangzi,therhetoricofDingzhenappearsnotonlyinsinglecharacter,butalsoinphrase.Example6:原文:南伯子葵曰：“子独恶乎闻之？”(女偊)曰：“闻诸副墨之子，副墨之子闻诸洛诵之孙，洛诵之孙闻之瞻明，瞻明闻之聂许，聂许闻之需役，需役闻之於讴，於讴闻之玄冥，玄冥闻之参寥，参寥闻之疑始。”(p.98)WangRongpei’sversion:NanboZikuiasked,“WherehaveyouacquiredTao?”RuYusaid,“IacquireditfromthesonofLiteracy,whoacquireditfromthegrandsonof29 M.A.DissertationofChongqingUniversityChapterFourCaseStudy:TransferenceOfArtisticConceptioninZhuangziRecitation,whoacquireditfromInsight,whoacquireditfromComprehension,whoacquireditfromDiligence,whoacquireditfromChant,whoacquireditfromProfoundity,whoacquireditfromEmptiness,whoacquireditfromCreation.”(p.99)Watson’sversion:NanpoTzuk’ueiasked,“Wheredidyouhappentohearthis?”“IhearditfromthesonofAidedbyInk,andAidedbyInkhearditfromthegrandsonofRepeatedRecitation,andthegrandsonofRepeatedRecitationhearditfromSeeingBrightly,andSeeingBrightlyhearditfromWhisperedAgreement,andWhisperedAgreementhearditfromWaitingforUse,andWaitingforUsehearditfromExclaimedWonder,andExclaimedWonderhearditfromDarkObscurity,andDark-ObscurityhearditfromParticipationinMystery,andParticipationinMysteryhearditfromCopytheSource!”(p.16)InChinesetext,thereareninenamesintheansweringsentence,andeachofthemstandsforaspecialmeaning.Differenttranslatorshavedifferentunderstandingstothosenames,butthereisaconsistentpoint.Peoplecanrecognizethatthefirst,third,fifth,seventhnameshaverelationshipwiththesenseofsight,andthesecond,fourth,sixth,eighthnameshaverelationshipwiththesenseofhearing.XuLai(2005)statedthattheancientChinesecharacterscouldbeconnectedflexiblyandclosely.Therefore,theseconcisenamesbecomelooseintheirEnglishtranslation.Inthissituation,theformofDingzheninEnglishwillbeprolix,anditmayviolatetheEnglishexpressionandaesthetic.InWangRongpei’sversion,heparaphrasedthosenames,especiallyfortheseventhandeighthnames,whichweretranslatedinto“Profoundity”and“Emptiness”.ChenJianzhong(1998)commentedthatthesetwowordsrespectivelyshowedthedimnessinsightandthesilenceinhearing,fromwhichpeoplecouldimplythechaosandfaintnessinTao.WangRongpeiusedrelativepronoun“who”topresenttheoriginalform.Theattributiveclausemakesthetranslationversionconnectcloselyandsoundssimple,whiletheoriginalrhetoricisconcealed.Therefore,readerscanunderstandthemeaningofthosenames,andthecompactstructureisshown,whichisconsistentwiththeexpressionandaesthetichabitsinEnglish.ButwemustadmitthattherhetoricformDingzhendoesnotappearinthetranslation.InWatson’stranslation,healsoparaphrasedthoseChinesenames.DifferentfromWangRongpei’sversion,Watsonimitatedtheoriginalrhetoricforminhistranslation.Thosenameswithspecialmeaningsaretranslatedintophrases,butaccordingtothe30 M.A.DissertationofChongqingUniversityChapterFourCaseStudy:TransferenceOfArtisticConceptioninZhuangzicontext,readerscanunderstandthatthosephrasesdescribepeople’snames,suchasthesonofAidedbyInk,thegrandsonofRepeatedRecitation.Fromthedynamicimitation,twotranslatorsdidtheirtranslationaccordingtotheirownunderstandings.Wedonotwanttocommentonwhoseversionisbetterorwhoseversionisworse.Wehaverealizedthatthebeautyinoriginaltextistransferredinthesetwotranslationversionsfromformsandmeanings.TheparallelsentenceisanothercommonrhetoricstructureinZhuangzi.Thesesentenceshavethesameorsimilarstructure,andcanprovideastrongsenseoftoneandbeauty.Example7:原文:若然者，登高不栗，入水不濡，入火不热。(p.88)WangRongpei’sversion:Hewouldnotfearwhenheclimbedaheight;hewouldnotgetwetwhenhejumpedintothewater;hewouldnotfeelhotwhenhejumpedintothefire.(p.89)Watson’sversion:Amanlikethiscouldclimbthehighplacesandnotbefrightened,couldenterthewaterandnotgetwet,couldenterthefireandnotgetburned.(p.14)Inthissentence,Zhuangzijustusedtwelvecharacterstodescribethetruemen’sfeatureinancienttimes.ItiswellknownthatChinesepaysmoreattentiononparataxis.Itistheinternallinkinmeaningmakesthesentenceconcise,especiallyinarchaicChinese.Itmakesthetranslationhard.Inoriginaltext,thesethreeclausesalmosthavethesamestructure.InWangRongpei’sversion,herepeatedthestructure“hewouldnot……whenhe……”threetimesandtriedtoreproducetheoriginalstructure.ThoughthetrueChinesesensecannotbeshowncompletely,itisstillagoodwaytorepresentthebeautyinform.InWatson’sversion,healsousedthreeclausestomodifythesubject“aman”,andtheseclauseshadthesamestructure.Theparallelformisimitatedandthemeaningandthesenseofbeautyarereappeared.4.3.3PoeticFormThemainstyleofZhuangziisprose,buttherearesomeromanticartisticexpressionsinsimplepoeticform,whichdisplayZhuangzi’sunusualimagination.However,inoriginaltext,thesepoeticformsarenotarrangedinpoemmostofthetime.Example8:原文:孔子适楚，楚狂接舆游其门曰：“凤兮凤兮，何如德之衰也！来世不可待，往世不可追也。天下有道，圣人成焉；天下无道,圣人生焉。方今之时,仅免刑焉。福轻乎羽,莫之知载；祸重乎地,莫之知避。已乎已乎，临人以德！殆乎殆乎，画地而趋！迷阳迷阳,无伤吾行！郤曲郤曲，无伤吾足！”31 M.A.DissertationofChongqingUniversityChapterFourCaseStudy:TransferenceOfArtisticConceptioninZhuangzi(p.68)WangRongpei’sversion:WhenConfuciuswasinthestateofChu,Jieyu,arecluseinChu,wanderedabouthisdoor,saying:“Phoenix,oh!Phoenix,oh!Howyourvirtuehasdeclined!Aboutthefuturewedon’tknow;Thepastwecannolongerfind.WhenTaoprevailsallo’ertheworld,Thesagesucceedsinallhisstrife;WhenTaoprevailsnotintheworld,Thesagepreservesbuthisownlife.Tolivetodayinthiswildworld,Heonlyhopestobesafeinlife.Lighterthanafeatherisgoodfortune,Butnooneknowshowtoenjoyit;Heavierthantheearthismisfortune,Butnooneknowshowtoavoidit.Enough!Enoughofyourcare!Enoughofpreachingnowandthen!Beware!Beware!Bewareoftrapsyousetformen!ThornsandpricklesonthewayCannotblockmystreet;ThornsandpricklesonthewayCannothurtmyfeet.”(p.69)Watson’sversion:WhenConfuciusvisitedCh’u,ChiehYu,themadmanofCh’u,wanderedbyhisgatecrying,“Phoenix,phoenix,howhisvirtuefailed!Thefutureyoucannotwaitfor;thepastyoucannotpursue.WhentheworldhastheWay,thesagesucceeds;whentheworldiswithouttheWay,thesagesurvives.Intimeslikethepresent,wedowelltoescapepenalty.Goodfortuneislightasafeather,butnobodyknowshowtoholditup.Misfortuneisheavyastheearth,butnobodyknowshowtostayoutofitsway.Leaveoff,leaveoffthisteachingmenvirtue!Dangerous,dangeroustomarkoffthegroundandrun!Fool,fooldoesn’tspoilmywalking!Iwalkacrookedwaydon’tsteponmyfeet.(p.11)32 M.A.DissertationofChongqingUniversityChapterFourCaseStudy:TransferenceOfArtisticConceptioninZhuangziInChineseoriginaltext,thispassagecanbeseenasasimplypoetryinprose.InWangRongpei’sversion,herestoredthispoeticform.WangimitatedtheformofEnglishsonnettodothetranslationofthispassage.Inoriginaltext,Zhuangziusedcharacterslike“兮”“也”“焉”toconstructthepassageinsuccessivemovement.Whenpeoplereadit,theycannotonlygetthemeaning,butalsoastrongsenseofbeautyinbeat.Inhistranslation,Wangstrovetoreconstructthissense.Healsochosesomewordswiththesamerhymelike“ohandknow”,“declinedandfind”,“strifeandlife”,“thenandmen”,“streetandfeet”.Therhymeinpoetryisanimportantfactorinsoundaesthetic.Theserhymesnotonlystrengthenthebeautyinsound,butalsocreatethebeautyinform.Therefore,thewholepassagesoundslikeabeautifulphilosophicalpoetry,andtheartisticconceptionhasbeentransferred.LiuMiqing(2005)alsopointedoutthatthe“rhyme”inpoetrycouldproduceaharmonioushearingaestheticsatisfactionbyitsmelodyandbeat.InWatson’sversion,hedidnotdistinguishthispassageinpoeticform,sotheneatnessinoriginaltextwasalittledefective.However,hestillpaidattentiontotherepeatedstructuresintheoriginaltext,andstrovetoimitatetheserepeatedstructuresinhisway.Example9:原文:子舆与子桑友，而霖雨十日，子舆曰：“子桑殆病矣！”裹饭而往食之。至子桑之门，则若歌若哭。鼓琴曰：“父邪！母邪！天乎！人乎！”有不任其声而趋举其诗焉。(p.110)WangRongpei’sversion:ZiyuandZisangweregoodfriends.Oncewhenithadrainedfortendays,Ziyusaidtohimself,“I’mafraidthatZisangmaybeindistress.”Sohepackedsomefoodandbroughtittohim.WhenhearrivedatZisang’sgate,heheardsomesoundslikesingingorweeping,totheaccompanimentofalute:“Father?Mother?Heaven?Man?”Thevoicewasveryweakandthewordswerehurriedforth.(p.111)Watson’sversion:MasterYuandMasterSangwerefriends.Onceitrainedincessantlyfortendays.MasterYusaidtohimself,MasterSangisprobablyhavingabadtime,andhewrappedupsomericeandtookitforhisfriendtoeat.WhenhegottoMasterSang’sgate,heheardsomethinglikesingingorcrying,andsomeonestrikingaluteandsaying:Father?Mother?33 M.A.DissertationofChongqingUniversityChapterFourCaseStudy:TransferenceOfArtisticConceptioninZhuangziHeaven?Man?Itwasasthoughthevoicewouldnotholdoutandthesingerwasrushingtogetthroughthewords.(p.18)Inexamplenine,itisobviousthatWangRongpei’sversionismorefaithfultotheoriginaltextthanWatson’s.Wangdidnotomiteverysentenceofsaying,whileWatsongaveaparaphrasefor“子舆曰”.Itistheirindividualstyleofimitation,butbothofthemadheretothetip“有不任其声而趋举其诗焉”.Therefore,bothofthetranslatorsrestoredthepoeticformtotranslateZisang’ssentence,andimitatedthecontentoftheoriginaltextinconcision.InoriginalZhuangzi,thesepoetriesinprosearenotarrangedaspoems.Iftranslatorsmakeadistinctionfromthewholetext,readerswouldbeattractedbythespecialformandgetaestheticenjoymentandphilosophyinspiration.4.4TransferenceinNon-formalSystemNon-formalsystemcanbeseenasmacroscopicaspects,whichneedstobeheldinentirety.LiuShaojin(1989)proposedthattheliterarytheoryandaesthetictheoryinZhuangzididnotwinfromtheircorrectness,butfromtheirinspiration,suggestionintheprocessofdiscussion.ItmeansthereareplentifulartisticconceptionsinZhuangzi.Andintranslation,thetransferenceofartisticconceptionneedstobeestablishedontheformalsystem,meanwhile,italsoneedstobegraspedfromthemacroperspective.Themethodofdynamicimitationisstillthebasicwaytobetaken.Beside,forthereasonthatthenon-formalsystemismoreabstractthanformalsystem,therefore,anotherelementhastobeconsideredintranslation------aestheticempathy.Empathyreferstoamethodtoappreciateanartinvolvingtherecreationinmood,feeling,oremotion.Throughthisrecreation,peoplecanunderstandtheartbetterandrealizetheartisticconceptionintheart.Empathyisaninternalconsciousactivity,therefore,psychologicalaestheticianKarlGrooscalleditasinwardimitation(LiuMiqing,2005).Inthisprocess,theobjectivematerialcanbetransferredintothesubjective“self”.Asanentitybetween“self”and“non-self”,WangWen(2010)statedthatempathyuniversallyexistedinpeople’saestheticcognition.4.4.1EmotionWehaveknownthatanauthor’smindoraspirationwillbepresentedinhiswork.Heputsthesinglewordstogetherandconstructsartisticconceptioninwhole.Thetranslator,34 M.A.DissertationofChongqingUniversityChapterFourCaseStudy:TransferenceOfArtisticConceptioninZhuangziontheotherside,hastosharethefeelingsormindoftheauthorintheworkandconsidershimselfastheauthor.Thetranslatorhastocommunicatehisemotionwiththeauthor.Translators’aimistoachievethesimilarempathytotheauthor’saestheticemotion.GreatpoetBaiJuyi(772-846A.D.)statedthatpeoplewantedtotouchtheheartofothersmeanstotouchtheemotionfirst.LiuXizaialsoproposedthattheliteraturewasthelearningofpresentingsomesome’sthoughtandemotion(SunYingchun,2000).Wecanfindoutthroughthepreviousdiscussionabouttheartisticconceptionthatthecombinationbetweenimageandemotionisthemainfactorintheproductionoftheartisticconception.Therefore,wecanstatethatthemaintasktoconveytheartisticconceptionofliteraryworksistoconveytheoriginalauthor’semotionorheart.ThefollowingexampleisastorythatZhuangzirefusedtoworkasanofficer:Example10:原文:庄子钓于濮水，楚王使大夫二人往先焉。曰：“愿以境内累矣。”庄子持竿不顾，曰：“吾闻楚有神龟，死已三千岁矣。王巾笥而藏之庙堂之上。此龟者，宁其死为留骨而贵乎？宁其生而曳尾于涂中乎？”二大夫曰：“宁生而曳尾涂中。”庄子曰：“往矣！吾将曳尾于涂中。”(p.280)WangRongpei’sversion:ZhuangziwasanglinginthePuRiverwhenLordWeifromthestateofChusenttwoministerstoinvitehim,saying,“We’dliketoentrustyouwiththestateaffairs.”Holdingthefishingrodinhishand,Zhuangzididnotlookback,saying,“I’veheardthatthereisasacredturtleinthestateofChu,whichwasdeadforthreethousandyears.Thelordkeepsitinabamboocasecoveredwithakerchief.Wouldthisturtleprefertobedeadandkeptinsuchagrandstyleortobealiveandabletodragitstailinthemud?”Theministerssaid,“Itwouldprefertobealiveanddragitstailinthemud.”Zhuangzisaid,“Pleasegoaway,then.I’dratherdragmytailinthemud.”(p.281)Watson’sversion:Once,whenChuangTzuwasfishingintheP’uRiver,thekingofCh’usenttwoofficialstogoandannouncetohim:“Iwouldliketotroubleyouwiththeadministrationofmyrealm.”ChuangTzuheldontothefishingpoleand,withoutturninghishead,said,“IhaveheardthatthereisasacredtortoiseinCh’uthathasbeendeadforthreethousandyears.Thekingkeepsitwrappedinclothandboxed,andstoresitintheancestraltemple.Nowwouldthistortoiseratherbedeadandhaveitsbonesleftbehindand35 M.A.DissertationofChongqingUniversityChapterFourCaseStudy:TransferenceOfArtisticConceptioninZhuangzihonored?Orwoulditratherbealiveanddraggingitstailinthemud?”“Itwouldratherbealiveanddraggingitstailinthemud,”saidthetwoofficials.ChuangTzusaid,“Goaway!I’lldragmytailinthemud!”(p.45)Inthispassage,Zhuangziexpressedhisdesirewithoutfameandwealthy.Hedidnotobsesswiththepowerandhigherposition.Hedrewananalogybetweenturtleandhischoice,inwhichhisemotioncanbeshowndistinctly.LiuMiqing(2005)statedthattheaestheticfeelingperceivedthepersonalvaluefromperceptualobjects.Therefore,theempathyinaestheticsistheprocesstotransfertheselfhoodtothetargetofimage,andtoachievetheunificationbetweenselfhoodandimage.Inthissituation,theobjectiveimagebecomestherepresentationtoconveythesubjectiveemotionsandthoughts.ItistheinformationthattheChineseoriginaltexttransfers.InWangRongpei’sversion,thispassageismainlyinparaphrase,andauthor’semotioncanbereadfromdetailedinformation.Wangused“entrustyouwiththestateaffairs”tostresstheimportantofferfromtheLord.Infrontofthisoffer,“庄子持竿不顾”istranslatedas“Zhuangzididnotlookback”,whichshowshisdismissiveattitudetothehighoffice,andheeven“didnotlookback”totheministers.Ontheotherhand,Wangalsomadesomechangestoachieveeasiereffectofunderstanding.“王巾笥而藏之庙堂之上”istranslatedinto“Thelordkeepsitinabamboocasecoveredwithakerchief”.Thecharacters“庙堂之上”disappear,butwhenwereadtheEnglishversion,wecanstillunderstandZhuangziandhisopinionclearly.Reisspointedoutthat“…anyanalysis,howeverconcerneditmaybetoachievetotalobjectivity,ultimatelyamountstointerpretation”(Hatim&Mason,2001).InWatson’sversion,justasWang’sversion,alltheinformationhasbeenreserved.ButinthelastsentenceofWatson’sversion,hetookanimperativesentence“Goaway!”tostrengthentheemotion,whichcouldtransfertheoriginalauthor’sthoughtbetter.Generally,theemotionofZhuangziinthistranslationisshown.LiuMiqing(2005)statedthatfromtranslationaesthetics,thesuccessorfailureofthetranslationoftheliteraryworksdependslargelyonwhetherthetranslatorcanexpresstheoriginalmeaningandemotioninproperway.Zhuangzipreferredexpressinghisthoughtandemotionthroughconcreteanalogy.Therefore,translatorswouldreappearitandimmigratetheirfeelingsinit.Throughthisinternalimitationorempathy,translatorssharethesimilarinformationwiththewriter,andachievethesameemotioninwriter’smind.4.4.2Imagesand“ImagebeyondImage”ZhangShaokang(1983)statedthat“thebasiccharacteristicsofChineseancientart36 M.A.DissertationofChongqingUniversityChapterFourCaseStudy:TransferenceOfArtisticConceptioninZhuangziaretoshowtheinvisiblevisible,toperformthelimitedinfinite,toperformvirtualinreality.Thetangibleandintangibledescriptionscanbecombined;thelimitedconcreteimageandtheinfiniteimagecanbeuniformed.Therealenvironmentanditsrepresentationwithahint,symbolvirtualenvironmentcanbecombined.Therefore,thestrongsenseofspatialbeauty,dynamicbeauty,andvividbeautycanbeshown,andgivesthegreatestfeelingofrealism”(p.60).Zhuangziisabookrichinimage.Imagescarrytheauthor’sideaandmaketheabstractopinionsconcrete.ThefollowingexampleisthefamousimageinZhuangzi:Example11:原文:北冥有鱼，其名曰鲲。鲲之大，不知其几千里也；化而为鸟，其名为鹏。鹏之背，不知其几千里也。怒而飞，其翼若垂天之云。是鸟也，海运则徙于南冥。南冥者，天池也。(p.2)WangRongpei’sversion:IntheNorthSeathereisakindoffishbythenameofkun,whosesizecoversthousandsofli.Thefishmetamorphosesintoakindofbirdbythenameofpeng,whosebackcoversthousandsofli.Whenitrisesinflight,itswingsarelikecloudsthathangfromthesky.Whenthewindblowsoverthesea,thepengmovestotheSouthSea,theCelestialPond.(p.3)Watson’sversion:InthenortherndarknessthereisafishandhisnameisK’un.TheK’unissohugeIdon’tknowhowmanythousandlihemeasures.HechangesandbecomesabirdwhosenameisP’eng.ThebackoftheP’engmeasuresIdon’tknowhowmanythousandliacrossand,whenherisesupandfliesoff,hiswingsarelikecloudsalloverthesky.Whentheseabeginstomove,thisbirdsetsoffforthesoutherndarkness,whichistheLakeofHeaven.(p.1)ItisthefirstparagraphinZhuangzi.Inthispassage,Zhuangzicreatedimageslike“鲲”“鹏”.Hecreatedtheseimagestorepresentlarge.“鲲”and“鹏”aretheembodimentsofallthegreatthings.Theycannotbemeasuredbyspecificfigures.BothWangRongpei’sandWatson’sversionarebasicallyfaithfultotheoriginaltext.EventheimagesaretranslatedbyChinesePinyin.Actually,theimages“鲲”“鹏”inoriginaltextarethetypicalanimalsinChina.TheyarecreatedfromancientChineselegend.WangRongpeitranslatedtheminitalicsandaddedthephrase“bythenameof”tointroducetheseChinesetypicalimagestoforeignreaders.AndWatsonalsoexplainedthesenames.Bymeansofdescription,readerscangetaroughimageandknowtheinformationthatthoselargeimagestransfer.Thebodyofthe“peng”issolong;thebackofitissobroad.Itswingsaresowide,anditcanflysohigh.EspeciallyinWatson’sversion,headdedthefirstperson“I”intohistranslation,andtransferredthisimageon37 M.A.DissertationofChongqingUniversityChapterFourCaseStudy:TransferenceOfArtisticConceptioninZhuangziindividualreaders.Thismethodofempathyevokesreaders’imagination.ThegreataspirationofKunandPengcanbereadfromthedescription.Zhuangzireposedhisspiritoffreedomintheimage“peng”,andheusedthisimagetoexpresstheideaofbreakingshackles(YeShuxian，1997).Afterreadingthetranslatedversion,readerscangetsuchapicturethatabiganimal“peng”,whosebodyissolarge,flieshightotheskyandpursuesthefreedom.Theimagebeyondimageistransferred,andtheartisticconceptionisalsogained.ThefollowingpassageisanotherimageexampleinZhuangzi:Example12:原文:子綦曰：“夫大块噫气，其名为风。是唯无作，作则万窍怒呺，而独不闻之翏翏乎？山林之畏隹，大木百围之窍穴，似鼻，似口，似耳，似枅，似圈，似臼，似洼者，似污者。激者，謞者，叱者，吸者，叫者，譹者，宎者，咬者，前者唱于而随者唱喁。泠风则小和，飘风则大和，厉风济则众窍为虚。而独不见之调调之刁刁乎？”(p.14)WangRongpei’sversion:Ziqianswered,“Theuniverseblowsoutavitalbreathcalledthewind.Sometimesitremainsinactive,butonceitbecomesactive,angryhowlsareemittedfromtenthousandcreviceshaveyouneverheardthemroaring?Therearecragsandcliffsinthemountains;therearehollowsandcavesinthehugetreestheylooklikenostrils,mouthsandears,likegouges,cupsandmortars,andlikepoolsandpuddles.Thewindblowingpastthemmakessoundsoftheroaringwater,whistlingarrows,scolding,breathing,shouting,wailing,rumblingandchirping.Onerustlingsoundisechoedbyanother.Agentlebreezeproducesafaintresponse;astrongwindproducesagiganticresponse.Whentheviolentgusthaspassedon,allthehollowsbecomesilentagain.Haveyouneverseentheswayingandwavingofthetreesandgrass?”(p.15)Watson’sversion:Tzuch’isaid,“TheGreatClodbelchesoutbreathanditsnameiswind.Solongasitdoesn’tcomeforth,nothinghappens.Butwhenitdoes,thententhousandhollowsbegincryingwildly.Can’tyouhearthem,longdrawnout?Inthemountainforeststhatlashandsway,therearehugetreesahundredspansaroundwithhollowsandopeningslikenoses,likemouths,likeears,likejugs,likecups,likemortars,likerifts,likeruts.Theyroarlikewaves,whistlelikearrows,screech,gasp,cry,wail,moan,andhowl,thoseintheleadcallingoutyeee!Thosebehindcallingoutyuuu!Inagentlebreezetheyanswerfaintly,butinafullgalethechorusisgigantic.Andwhenthefiercewindhaspassedon,thenallthehollowsareemptyagain.Haveyouneverseenthetossingandtremblingthatgoes38 M.A.DissertationofChongqingUniversityChapterFourCaseStudy:TransferenceOfArtisticConceptioninZhuangzion?”(p.3)InoriginalChinesetext,Zhuangzidescribedtheimageofwindthatblewthroughtheforest.Itisthedescriptionwithvariousshapesandsounds.ItsoundsaffluentandfullofimaginationinChinese.Thesenounsandverbsthatdescribetheshapes,sounds,andpowersindifferentdegreesprovidenovelimagesandpeculiarChinesecharacters.Itisreallyanenjoymentforreaderstoread.Onthecontrary,itisabsolutelyachallengetotranslators.Itisnoteasytoachievetheeffectallthetime.Wordsthatdescribethesentence“大木百围之窍穴”haveconcretethingsasmodels,therefore,thetranslationsofthispartarealikeexceptforslightdifferencesinWangRongpei’sandWatson’sversion.Theverbsthatdescribethesoundofwindcanalsobetranslatedaccordingtowind’smovement.InWangRongpei’sandWatson’sversion,wecanfindthatthewholemeaningoftheoriginaltext,theshapesofthehollows,andthevarioussoundsofthewind,aretranslated.TherearesomeinterestingpartsinWatson’stranslationlike“yeee”and“yuuu”.Actually,afteranalyzingtheoriginalpassage,wecanfindthatthetwocharacters“于”“喁”donothaveveryprecisemeanings.Howcouldthetranslatorsdothistranslation?Insteadofinterpretation,Watsoncreatedthesetwosyllablesoundstomeettheoriginaltext,whichprovidedabeautyofsoundinreadingandarousedthereaders’imagination.WangRongpeiusedtheword“echo”toachievetheparataxisinhisversion.InZhuangzi’sopinion,allthethingsintheworld,includingemotionsandqualitiesofhumanbeings,seemvarious,buttheyareeveninthefinalanalysis.Itisanartisticconceptionofselflessness.Therefore,inoriginaltext,themanZiqientersintothisselflesssituation,andvarioussoundsinthenaturearecreatedbynatureitself.AndinWangRongpei’sandWatson’sversion,theyallgaveaspecialanddetailedtranslationtothewind.Afterreadingthosetranslationsonthesurfacelevel,readerscanbeinfluencedbythosepeculiardescriptions,andgetthesensebeyondconcreteimageandachievetheartisticconceptionthathidesinoriginaltext.AnotherfamousimageinZhuangzishouldbeinthispassage:Example13:原文:昔者庄周梦为胡蝶，栩栩然胡蝶也，自喻适志与！不知周也。俄然觉，则蘧蘧然周也。不知周之梦为胡蝶与，胡蝶之梦为周与？周与胡蝶，则必有分矣。此之谓物化。(p.38)WangRongpei’sversion:I,bythenameofZhuangZhou,oncedreamedthatIwasabutterfly,abutterflyflutteringhappilyhereandthere.IwassopleasedthatIforgotthatIwasZhuangZhou.WhenIsuddenlywokeup,IwasastonishedtofindthatI39 M.A.DissertationofChongqingUniversityChapterFourCaseStudy:TransferenceOfArtisticConceptioninZhuangziwasasamatteroffactZhuangZhou.DidZhuangZhoudreamofthebutterflyordidthebutterflydreamofZhuangZhou?BetweenZhuangZhouandthebutterflytheremustbesomedistinctions.Thisiscalled“thetransformationofthings.”(p.39)Watson’sversion:OnceChuangChoudreamthewasabutterfly,abutterflyflittingandflutteringaround,happywithhimselfanddoingashepleased.Hedidn’tknowhewasChuangChou.Suddenlyhewokeupandtherehewas,solidandunmistakableChuangChou.Buthedidn’tknowifhewasChuangChouwhohaddreamthewasabutterfly,orabutterflydreaminghewasChuangChou.BetweenChuangChouandabutterflytheremustbesomedistinction!ThisiscalledtheTransformationofThings.(p.6)Inthispassage,Zhuangzidreamedhebecameabutterflytoescapefromthesecularworld.Whenhewokeup,hewasconfusedwhohewas.Theartisticconceptioninthispassageisconsideredtobeparticularandbewildering,whichshowsawonderfulbeautyinfuzziness(LiuHua,2005).Intheoriginaltext,thesubjectisZhuangZhou.InWangRongpei’sversion,“I”becomethemaincharacter.“I”dreamthat“I”escapefromthecomplicatedworld,and“I”flyhereandtherefreely.“I”canseetheimagebutterfly,andgetthemeaningthatbeyondimage.Butterflyistheimageinthispassage,butitalsocarriesZhuangzi’sidealsoffreedom.Fromthefirstperson’sstandpoint,readerscangetasensethattheywerethepersonsofhavingthedream.Theimaginationsandfeelings,andevenemotionsaretransferredtoreaders,andtheartisticconceptionisalsotransferredthen.InWatson’sversion,headheredtothepersoninoriginaltext,andtranslatedthewholepassageindeclarativesentence,whichwashiswaytodescribetheimage.AlthoughtheimagebeyondimagecanstillbeshowninWatson’sversion,thedegreeofempathyintransferenceofartisticconceptionisweakerthanWangRongpei’sversion.Actually,itisimpossibletodotheabsoluteequivalenceintranslation.Ifthetranslatorwantstomakeasimilareffectwiththeoriginaltext,hemustconsidertheoverallaestheticoftheoriginaltextinhistranslation(MaHuijuan,2003).40 M.A.DissertationofChongqingUniversityChapterFiveConclusionCHAPTERFIVECONCLUSION5.1FindingsThisdissertationisastudyofthetransferenceofartisticconceptioninZhuangzianditstranslationonthebasisoftranslationaesthetics.Theauthordescribesthehistoryandthedevelopmentoftheartisticconception.Undertheguidanceofthetranslationaesthetics,theauthortakesWangRongpei’sandBurtonWatson’stranslationversionasthecasestudytoillustratetheaestheticelementsZhuangziandanalyzethemeasuresofhowtotransfertheartisticconceptioninZhuangzi’stranslation.Artisticconceptionisthesoulofaliterarywork.Totranslatealiteraryworkwithoutconveyingitsartisticconceptionisjustlikedrawingadragonwithoutdrawingitseyes.Inordertomaintaintheoriginalartisticconceptionbeauty,itisnotappropriatetotranslatewordforwordorsentenceforsentence.Peoplehavetorealizethatthetransferenceofartisticconceptionisactuallyanaestheticactivity.Inchapterfour,theauthorhasdiscussedthatZhuangziisfullofformalbeauties,suchassounds,word,andsoon,aswellasnon-formalbeauties,likeemotions,imagesandimagebeyondimage.AestheticelementsinZhuangzihavebeenillustratedincomprehensiveway.Forthetransferenceofartisticconceptioncanbeestablishedbybothformalandnon-formalsystem,translatorsallstrivetorepresenttheseaestheticforms.Asamethodofrepresentationintranslationaesthetics,theauthorfindsthatonthelevelofformalsystem,thedynamicimitationisaneffectivewaytoreproduceZhuangzi’sbeauty.Onthelevelofnon-formalsystem,theaestheticempathy,whichisalsocalledasinternalimitation,hastoberegardedasanindispensablemethod,whichcanbeestablishedontheformalimitationandsummonsupreaders’emotionsandimaginationsinnon-formalsystem.Undertheguidanceofalltheseelements,thebeautyinZhuangzicanbemeasuredandreconstructedinitstranslation,andtheaimoftransferringartisticconceptioninZhuangzicanbeachieved.5.2LimitationsAlthoughinthisthesis,theauthorfiguresoutthatitispossibletotransfertheartisticconceptionsinZhuangziundertheguidanceoftranslationaesthetics,theauthorpaysmoreattentionstotheaestheticobjectsandjustusesafewchapterstodiscusstheissueoftheaestheticsubjects.Subjectshaveindividualcharactersandplayasignificantroleintranslationprocess.Todotheresearchonsubjectisacomplexissueintranslation.The41 M.A.DissertationofChongqingUniversityChapterFiveConclusionauthorwilldofurtherresearchonthisaspectlater.Inthisthesis,theauthortakesWangRongpei’sandBurtonWatson’stranslationversionsasthemainexample.Duringhundredsofyears,therearemanyversionsofZhuangzi’stranslation.Allofthemhavetheirindividualcharacters.Thequalityofthetranslationwillbecomebetter,buttheformertranslationscanprovidereferenceforthenewtranslation.Therefore,thecasestudycanbeexpandedtomoreexamplesforthediscussion,bywhichtheargumentsofthisthesiscanbestrengthened.5.3PossibleEffortsforFurtherStudiesIntheresearchofthisthesis,theauthorfindsoutthattherearestillmanybeautifulaspects,andtheyareomittedinZhuangzi’stranslation.SomeofthemareproducedbythedifferencesbetweenChineseandEnglishlanguage,andsomeofthemareproducedbytheculture.Infurtherstudy,theresearchcanbedoneontheseomittedaspects.Undertheguidanceoftranslationaesthetics,translatorscananalyzetheoriginaltextinawiderandmoredetailedarea.Ontheotherhand,moreeffectivemethodstoreproduceartisticconceptioncanstillbeexploredanddiscussed.Besides,theaestheticsubjectsstillneedtobediscussedinfurtherresearch.Nidastatedthatitwasthebesttranslationthatdidnotsoundlikebeentranslated(Nida&Taber,1974).Therefore,thepursuitforthebettertranslationversionstooriginalbooksneverstops.Translationaestheticsisawidetheorytoanalyzethetexts.TheauthorbelievesthattherearemorecomparisonscanbedonebetweenmoreversionsofZhuangzi’stranslationundertheguidanceoftranslationaesthetics.42 M.A.DissertationofChongqingUniversityAcknowledgementsACKNOWLEDGEMENTSSince2008,IhavebeeninChongQingUniversityforalmostthreeyears.Duringthesethreeyears,Ihavefinishedmyposteducation,andnowIhavefinishedmythesis.Actually,Ididnotfinishthethesisalone;manypeoplehavemadeinvaluablecontributionformypaper.HereIwanttosaythankyousincerelytomanypeople.Firstofall,Iwouldliketopresentmymostsincereappreciationtomydearsupervisor,ProfessorXiangXiaolin.Shegivesmeinstructiveadviceandcontinuousguidance,whichmakemekeepclearthinkingduringthewriting.Shegivesmesustainableencouragementandpatienthelp,whichmakemekeepwritingwhenImeetdifficulties.Besides,herpositiveattitudetowardslifeandseriousspirittotheworksetagreatexampleforme.Youarenotonlytheteacherformyacademiclearning,butalsotheteacherformylife.IalsowanttosaythankyoutoMs.ChenXiaoli.Yoursubjectattractsmyattentiononliterarytranslation.Ibecomemoreinterestedinliteratureafterthatsubject.Thankyouforyourvaluablesuggestionstomythesis,whichgivemeagreathelpinimprovingit.IwanttothankMs.YangMei.Becauseofyoursubject,Ilearntheconcretemethodsofdoingtheresearchontranslation.IlearnwhatkindofmethodIshouldchooseinmyresearch.IalsowanttothankMr.XuTiecheng.Hehasretiredthough,Istillrememberhisconscientiousattitudetowardsknowledge,andhegivesmeagreathelponhowtodothecomparisonbetweenChineseandEnglish.Ialsowanttopresentmygratitudetoexternalreviewer.Youspendtimeandenergyreadingmythesis,andgivemepertinentremarksandsuggestions.Thankyouforyourhelpinimprovingmythesis.Iwanttothankalltheteacherswhohavetaughtme.Theygivemevariousknowledgeandhelpinmywriting.IstillwanttothankmyclassmatesLuoYunming,LiuFen,LiuYuehua,andWuWei.Wesharethesamesupervisor,andalmosthavethesamecourses.Theygivemesuggestionsonmythesisandtheyalsoencouragemeduringmylongwritingperiod.Furthermore,Iwantpresentmygratitudetomydearparents,whohavesupportedmeinmyeducationandmywriting.Allyoursupportsaremymotivationforever.43 M.A.DissertationofChongqingUniversityReferencesREFERENCES[1]Bassnett,S.,Lefevere,A.(2001).ConstructingCultures:EssaysonLiteraryTranslation.Shanghai:ShanghaiForeignLanguageEducationPress.[2]Gentzler,E.(2004).ContemporaryTranslationTheories.Shanghai:ShanghaiForeignLanguageEducationPress.[3]Hatim,B.,Mason,I.(2001).DiscourseandtheTranslator.Shanghai:ShanghaiForeignLanguageEducationPress.[4]Kennedy,P.(2006).TheRiseandFalloftheGreatPowers.HongKong:InternationalCulturePress.[5]MaHuijuan.(2003).AStudyonNida’sTranslationTheory.Beijing:BeijingForeignLanguageTeachingandResearchPress.[6]Nida,E.,Taber,C.(2004).TheTheoryandPracticeofTranslation.Shanghai:ShanghaiForeignLanguageEducationPress.[7]Shuttle,B.,Cowie,M.(2004).DictionaryofTranslationStudies.Shanghai:ShanghaiForeignLanguageEducationPress.[8]Townsend,D.(2004).Aesthetics:ClassicReadingsfromWesternTraditon.Beijing:PekingUniversityPress.[9]Watson,B.(1968).TheCompleteWorksofChuangTsu.NewYork:Columbia.[10]包兆会(2004).《庄子生存论美学研究》.南京：南京大学出版社.[11]陈超(2010).“意境”理论的流变及其特征.《文艺论坛》.第2期:130-131.[12]陈鼓应(1984).《老子注释及评价》.北京:中华书局.[13]陈建中(1998).卮言日出，和以天倪---评汪榕培教授英译《庄子》.《外语与外语教学》.第11期:39.[14]辞海编辑委员会(1999).《辞海》.上海：上海辞书出版社.[15]方梦之(2004).《译学辞典》.上海：上海外语教育出版社.[16]冯庆华(2002).《文体泛翻译论》.上海：上海外语教育出版社.[17]傅仲选(1993).《实用翻译美学》.上海：上海外语教育出版社.[18]古风(1997).现代意境研究评述，《社会科学战线》.第2期:37-39.[19]古风(2001).意境与当代审美.《思想战线》.第6期:63-66.[20]郭超(2009).大陆近三十年来庄子美学研究综述.《安徽师范大学学报(人文社会科学版)》.第5期:556-557,559.[21]姜秋霞(2002).《文学翻译中的审美过程：格式塔意象再造》.北京：商务印书馆.44 M.A.DissertationofChongqingUniversityReferences[22]蓝华增(1981).意境——诗的基本审美范畴——读王国维《人间词话》札记.《云南社会科学》.第1期:87.[23]李秀英(2008).华兹生的汉学研究与译介.第4期:64.[24]李元洛(1987).从中西美学思想的比较看“意境”.《求索》.第1期:99.[25]刘华(2005).先秦诸子文学之冠---庄子文学创作特点研究.《河南图书馆学刊》.第2期:75.[26]刘宓庆(2005).《翻译美学导论》.北京：中国对外翻译出版公司.[27]刘宓庆(2006).AestheticsandTranslation.《刘宓庆翻译散论》.北京：中国对外翻译出版.[28]刘绍瑾(1989).《庄子与中国美学》.长沙：岳麓书社.[29]刘玮(2009).从翻译美学角度看《诗经》译本的形美传递《安徽农业大学学报》..第4期:101.[30]茅盾(1984).为发展文学翻译事业和提高翻译质量而奋斗《翻译研究论文集.(1949—1983)》.北京:外语教学与研究出版社.[31]毛荣贵(2005).《翻译美学》.上海：上海交通大学出版社.[32]倪武业(2010).论庄子美学的启蒙精神《徐州师范大学学报.(哲学社会科学版)》.第1期:25.[33]潘世秀(1981).略论意境说的美学意义.《文艺理论研究》.第3期:98.[34]隋荣谊，李锋平(2007).翻译美学初探.《外语与外语教学》.第11期:54.[35]孙迎春(2000).文学翻译意境问题刍议.《山东外语教学》.第3期:36.[36]孙迎春(2001).《汉英双向翻译学语林》.济南：山东大学出版社.[37]谭建香，唐述宗(2010).钱钟书先生“化境”说之我见.《语言与翻译》.第1期:50.[38]王建荣(2007).Watson《庄子》英译本评析．《US-ChinaForeignLanguage》.第5期：9.[39]汪榕培(1999).《庄子（英译）》.北京：外文出版社.[40]汪榕培(1995).《庄子》十译本选评.《外语教学与研究》.第4期：60.[41]吴慧洁，黄慧薇(1999).近五年意境研究论文及作者分析评价.《湛江师范学院学报》.第2期:114-115.[42]吴慧洁（2010）.近十年“意境”研究的文献计量分析《湛江师范学院学报》..第2期:169-170.[43]王闻(2010).意象重现与意境重建---浅析文学翻译中的审美移情作用.《湘南学院学报》.第1期:59.[44]奚永吉（1993）.《翻译美学比较研究》.南京：南京出版社.[45]徐来（2005）.《庄子》英译研究[D].上海：复旦大学.[46]叶舒宪（1997）.《庄子》的文化阐释.湖北：湖北人民出版社.[47]余树苹（2003）.《齐物论》两种英译之比较.《现代哲学》.第3期:78.[48]张少康(1983).论意境的美学特征.《北京大学学报(哲学社会科学版)》.第4期:49.[49]张雅卿(2007).文学作品中意象的翻译.《湖北广播电视大学学报》.第9期:68.[50]张映先，张小波(2003).虚实有度，译笔菁华---读汪榕培《庄子》英译.《湖南师范大学社会科学学报》.第5期:127.45 M.A.DissertationofChongqingUniversityReferences[51]赵则诚等(1985).《中国古代文学理论辞典》.长春:吉林文史出版社.[52]中国翻译工作者协会(1984).《翻译研究论文集(1894-1948)》.北京:外语教学与研究出版社.[53]宗白华(1981).中国艺术意境之诞生.《美学散步》.上海:上海人民出版社.[54]宗白华(1987).《艺境》.北京：北京大学出版社.[55]宗福常(2000).也谈“庄周梦蝶”的英译.《常熟高专学报》.第1期:87.46 M.A.DissertationofChongqingUniversityAppendixAPPENDIXArticlesPublishedDuringM.A.Studies:[1]李瑾，英汉习语翻译过程的语境动态顺应化指导策略.考试周刊，2010，31：41-42.47
此文档下载收益归作者所有
