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1、I.Aesthetic Progression in Literary Translation Traditional approaches tend to view translation as an activity concerning only interlingual transfer,and there are only three requirements for translators to perform their job successfully:a)familiarity with the source language,b)familiarity with the t
2、arget language,and c)familiarity with the subject matter.With the deepening of translation studies,however,such statements hold little water.In literary translation practice,the change of one language into another is only the surface work,while the transfer of artistic images ranks first in the tran
3、slators job.Therefore,the aesthetic value of the source language should be given priority to,and the process of literary translation should be regarded as aesthetic progression between two different languages and cultures achieved through the translators actualization of the original image.1.Aesthet
4、ic Progression and Image-Actualization The possession of aesthetic qualities is a necessary condition of the literary text.But these qualities are not given as ready-made or finally formed realities,but as possibilities or inherent images for realization,waiting to be actualized in the interaction w
5、ith the translator Example:In her eagerness she rose and supported herself on the arm of the chair.At that earnest appeal he turned to her,looking absolutely desperate.His eyes,wide and wet,at last flashed fiercely on her;his breast heaved convulsively.An instant they held asunder,and then how they
6、met I hardly saw,but Catherine made a spring,and he caught her,and they were locked in an embrace from which I thought my mistress would never be released alive:in fact,to my eyes,she seemed directly insensible.He flung himself into the nearest seat,and on my approaching hurriedly to ascertain if sh
7、e had fainted,he gnashed at me,and foamed like a mad dog,and gathered her to him with greedy jealousy.I did not feel as if I were in the company of a creature of my own species:it appeared that he would not understand,though I spoke to him;so I stood off,and held my tongue,in great perplexity.(Emily
8、 Bronte:Wuthering Heights,Chapter XV)她异常激动地站起身来，身子靠着椅子的扶手。听了那真挚的乞求，他转身向她，神色是完全不顾一切了。他睁大着双眼，含着泪水，终于猛地向她一闪，胸口激动地起伏着。他们各自站住一刹那，然后我简直没看清他们是怎么合在一起的，只见凯瑟琳向前一跃，他就把她擒住了，他们拥抱得紧紧的，我想我的女主人绝不会被活着放开了：事实上，据我看，她仿佛立刻就不省人事了。他投身到最近处的椅子上，我赶忙走上前看看她是不是昏迷了，他就对我咬牙切齿，像个疯狗似的吐着白沫，带着贪婪的嫉妒神色把她抱紧。我简直不觉得我是在陪着一个跟我同类的动物：看来即使我跟他说话，
9、他也不会懂；因此我只好非常惶惑地站开，也不吭声。This part describes the scene when Mr.Heathcliff saw Mrs.Linton Cathy for the last time.Here we can see the“pictureness”characteristic of literary works,that is,the author can create a picture in the readers mind through literary description about how Catherine and Heathcliff
10、 met at her dying moment,with the struggle in their mind.“Aesthetic progression”is applied here to denote both the translating process from the initial reading of a poetic text to the final translation choices and the mental process in image-actualization.To use“progression”instead of“process”is bas
11、ed on the conception that a literary text characterized by poetic use of language language inherently capable of multiple interpretations cannot be assigned a single“correct”translation,and that“form is not a property of a finished product;it never achieves a state of fixity but exists as continuous
12、ly changing processes”.The act of image-actualization is,then,a cumulative process the building of meaning upon meaning and experience upon meaning in order to establish finally an idea or an interpretation in the mind of the translator-reader.2.An Image-based literary translation model Phase I:to t
13、ranslate the written text into a mental image-G(the mental manifestation of an imaginary gestalt 完全形态);Phase II:to find goal-language exponents（代表者，解释者）of the overall mental representation obtained in Phase I.3.Case Studies Images are essential components of the literary language.They can be roughly
14、 classified into five types:1)micro images(a.metaphor;b.symbol);2)macro images(c.scenes;d.characters;e.events)Examples:(1)first,she would be“prideful”,as Gerald had commanded.From the moment she arrived at Twelve Oaks,she would be her gayest,most spirited self.No one would suspect that she had ever
15、been downhearted because of Ashley and Melanie.And she would flirt with every man there.That would be cruel to Ashley,but it would make him yearn for her all the more.She wouldnt overlook a man of marriageable age,from ginger-whiskered old Frank Kennedy,who was Suellens beau,on down to shy,quiet,blu
16、shing Charles Hamilton,Melanies brother.They would swarm around her like bees around a hive,and certainly Ashley would be drawn from Melanie to join the circle of her admirers.Then somehow she would maneuver to get a few minutes alone with him,away from the crowd.She hoped everything would work out
17、that way,because it would be more difficult otherwise.But if Ashley didnt make the first move,she would simply have to do it herself.(Margaret Mitchell:Gone with the Wind)第一，她要装出一副“傲慢”的神气，这是她父亲吩咐过她的。她从到达十二根橡树的一刻儿起，就一直要装得十分倜傥，十分兴头。这样，人家才不会疑心她因希礼和媚兰的事曾经感觉过灰心。她在那边，对于那边的男人，一个个都要卖弄一番。这会使得希礼见了要十分难受，要越发舍不得
18、自己。凡在结婚年龄的男子，她要一个个都跟他敷衍，老到如苏伦的情人，那个黄胡子的甘扶澜，小到如媚兰的弟弟，那个一下就会脸红的韩察理，她都要一网打尽他们，一个不让他漏网。那一些人一定会同蜜蜂围绕蜂房一般地向她围拢来，因而希礼也会丢开媚兰来加入他们的团体。然后她就要运用一点儿战略，使得希礼将她带开去，和她单独谈几分钟话。她想着这一着一定会万无一失，若使不然，事情就比较棘手了。但是万一希礼那边果真不肯先发动，那么，由她自己这边首先发动也无不可的。（傅东华译飘）(2)（阿 Q）可是永远记得那狼眼睛，又凶又怯，闪闪的像两颗鬼火，似乎远远的来穿透了他的皮肉。而这回他又看见从来没有见过的更可怕的眼睛了，又钝又
19、锋利，不但已经咀嚼了他的话，并且还要咀嚼他皮肉以外的东西，永是不近不远的跟他走。（鲁迅阿 Q正传）He had never forgotten that wolfs eyes,fierce yet cowardly,gleaming like two will-o-the wisps,as if boring into him from a distance.Now he saw eyes more terrible even than the wolfs:dull yet penetrating eyes that,having devoured his words,still seemed
20、 eager to devour something beyond his flesh and blood.And these eyes kept following him at a set distance.Thus,forever would he remember the eyes of that wolf:cruel and savage they were,scintillating like two balls of spirit fire,seeming to come as they did from a distance,piercing his very flesh.On
21、 this occasion,likewise,he beheld frightful eyes such as he had never seen before,blunt and cuttingly sharp they were,they had not only chewed his words,but were bent on chewing things beyond his flesh.Those eyes kept following at a distance,never coming near nor withdrawing.II.Style Case Study:1)月黑
22、雁飞高，单于夜遁逃。欲将轻骑逐，大雪满弓刀。High in the faint night,wild geese are soaring.Tartar chieftains are fleeing through the dark And we chase them,with horses lightly burdened And a burden of snow on our bows and our swords 2)朝辞爷娘去 木兰辞 And before the sun began his journey steep,She kissed her parents in their tr
23、oubled sleep,Caressing them with fingers soft and light,She quietly passed from their conscious sight,And mounting horse she with her comrade rode.1.Definition of style Style:the way language is used by a given person,for a given purpose,in a given context.In a broad sense,style is the“specific or c
24、haracteristic manner of expression,execution,construction,or design in any art,period,work,employment,etc.When applied to literature,style suggests the result of a successful blending of form with content.Here form refers to the language a writer uses,and content the theme or ideology of the writer
25、or his/her work.Three grades/domains of style in translation concerning language:1)levels of speech:such as formal or informal,familiar or polite,spoken or written（语体）2)literary forms:such as poetry,drama and novel（文体）3)manner of expression,characteristic of a particular writer,or the way in which l
26、anguage is used in a particular school or period（风格）Style in the last sense can be viewed as literary style.,which is the essential characteristics of every piece of writing,the outcome of the writers personality and his/her emotions at the moment.2.Stylistic Markers 2.1 Formal markers 1)Phonologica
27、l markers 2)Register markers Register refers to the scope to which a word is applicable,such as spoken language and written language,dialect and standard speech,male speech and female speech,etc.Another way of classification is to classify register into five categories:(a)the frozen,(b)the formal,(c
28、)the consultative,(d)the casual,(e)the intimate.3)Lexical markers 4)Syntactic markers 5)Textual markers 6)Markers of figures of speech（修辞格）e.g.Charles Dickens:irony and exaggeration 2.2 Non-Formal Markers 1)Ways of expression e.g.symbolic undertones 象征性潜隐叙事法 Near the curb of the crowded sidewalk,pig
29、eons were tossing around a bread crust that someone had dropped or thrown them.They couldnt cope with it or let it be.These creatures filled me with both compassion for them and rage against their Creator.Where did they spend the nights in this severe weather?They must be cold and hungry.They might
30、die this very night.It seems that the writer is describing the phenomena in pigeons world,but in fact he refers to the reality of human society.The symbolic meanings exist between and behind the lines,leaving much room for readers exploration.2)Subject matter e.g.Hemingways subject matter is always
31、about death,violence,danger and the like.His preoccupation with individual courage,will and power is unique and characteristic of Hemingway style.3)Ideological Contents 3.The difficulty in reproducing the original style Style is usually part of the original literary works textual meaning;therefore h
32、arm will be done,to a great extent,to the textual meaning of the original,if the translator fails to pay enough attention to the style of the SLT in translation.Owing to the different natures of language,however,which may differ in word formation,syntactic structure,figure of speech,etc.,there do ex
33、ist some linguistic difficulties in stylistic transference.Those who believe style cannot be reproduced insist that style belongs to the category of linguistic form,not content.Form cannot be independent of the concrete mode of expression in the literary text,which has to be changed in the translati
34、ng process,thus the style is changed accordingly.For example:1）冻雨洒窗，东两点，西三点；切瓜分片，横七刀，竖八刀。2）此木为柴山山出，因火成烟夕夕多。(phanopoeia 形文)3）She sells seashells on the seashore,The shells she sells are seashells.(a tongue twister melopoeia 声文)4）-Whats the relation between the door-mat and the door?-A step farther(st
35、epfather).5）-“Call me a taxi,”said the fat man.-“Okay,”said the doorman.“Youre a taxi,but you look more like a truck to me.”6）-“Why is a room full of married people very empty?”-“Because there isnt a single person in it.”(logopoeia 情文)7）人曾为僧，人弗可以成佛；女卑是婢，女又何妨称奴。(pun)A Buddhist cannot bud in a Buddha;
36、A maiden may be made a housemaid.The man who has been a monk cannot be a Buddha;The girl who is a bond may also be called a slave.8）客上天然居，居然天上客。(Palindrome)4.How to render the original style Generally speaking,there are three arguments against the translatability of style:1)Different languages cant
37、express the same style;2)Translators have their own styles;3)There are no objective criteria for the judgment of what kind of translation is good and what kind is bad.According to Liu Zhongde,to reproduce the original style satisfactorily,the translator must have both the macroscopic(literary)point
38、of view and the microscopic(linguistic)point of view.The former deals with the thought,feeling and style of the original,and the latter deals with the words,sentences and paragraphs of it.There are two feasible techniques to represent the original style in translation,namely,corresponding(imitation)
39、and recasting.Recasting is usually applied when there is(a)a lack of corresponding stylistic markers in the target and(b)the discrepancy in ways of thinking and expressing which result from linguistic and cultural differences.Generally speaking,recasting involves(a)rearrangement of word order,(b)con
40、version of parts of speech,and(c)proper addition and deletion.Examples:(1)First Gentleman:Thou art always figuring diseases in me,but thou art full of error;I am sound.Lucio:Nay,not as one would say,healthy;but so sound as things that are hollow;impiety has made feast of thee.(Shakespeare:Measure fo
41、r Measure)绅士甲：你总以为我有哪种病，其实你大错特错，我的身体响当当的。路奇欧：响当当的，可并不结实，就象空心的东西那样响当当的；你的骨头都空了，好色的毛病把你掏空了。(2)空山不见人，但闻人语响。返景入深林，复照青苔上。（王维鹿柴）An empty hill,and no one insight,But I hear the echo of voices.The slanting sun at evening penetrates the deep wood,And shines reflected on the blue lichens.(3)On one of those so
42、ber and rather melancholy days in the latter part of autumn,when the shadows of morning and evening almost mingle together,and throw a gloom over the decline of the year,I passed several hours in rambling about Westminster Abbey.There was something congenial to the season in the mournful magnificenc
43、e of the old pile;and,as I passed its threshold,it seemed like stepping back into the regions of antiquity,and losing myself among the shades of former ages.(Washington Irving:Westminster Abbey)III.Cultural Elements in Literary Translation The meaning of verbal symbols depends on the culture of the
44、language community.Language is a part of culture,and in fact,it is the most complex set of habits that any culture exhibits.Language reflects the culture,provides access to the culture,and in many respects constitutes a model of the culture.1.What is culture?In his Primitive Culture,Tylor laid down
45、this definition:“Culture is that complex whole which includes knowledge,belief,art,morals,law,custom and any other capabilities and habits acquired by man as a member of society.”According to many sociologists and cultural anthropologists,four features are essential in culture:Culture is acquired ra
46、ther than inherited.Culture is shared by a community rather than owned by an individual.Culture is symbolic and language is the most important symbolic system of culture.Culture is a unity,in which one part is related with another.To put it simply,culture refers to the total way of life of a people.
47、Thus literary translation,a bilingual art,seemingly a mere interlingual transformation,is in nature an intercultural activity in its work of comparing,introducing and absorbing.2.Cultural Universals As far as English and Chinese are concerned,we find a number of cultural universals in their respecti
48、ve vocabularies.Some words in the two languages carry not only the same literal meaning but also the same or quite similar extended meaning.For example,as is often the case,“heaven”or 天 is regarded as something dominating everything on earth and social members in both cultures are filled with awe an
49、d veneration for it,as in the following expressions:Heaven has eyes(there is divine justice after all).老天有眼。Heavens vengeance is slow but sure.天网恢恢，疏而不漏。Heaven/God helps those who help themselves.老天不负苦心人/自助者，天助之。The people of the two cultures may also have some similar experience,observation or phil
50、osophical views on human life and the objective world.For example:赤条条来去无牵挂（红楼梦第二十二回）For we brought nothing into this world,and it is certain we can carry nothing out.(New Testament of The Bible)Unity is strength.人多力量大。As a man sows,so he shall reap.种瓜得瓜，种豆得豆。Blood is thicker than water.血浓于水。Knowledg