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Abstract
This paper elaborates on the theory of “aesthetic progression” in literary translation.
Introduction
Aesthetic progression is the interacting process occurring between the text and the translator, in this context; it refers to the process of image actualization. According to “Aesthetic progression” is applied to denote both the translating process and the procedure from the initial reading of a poetic text to the final translation choices and the mental process in image-actualization.
Analysis
There are four reasons to use “aesthetic progression” in literary translation: 1. languages inherently capable of multiple interpretations. 2. It can’t be assigned a single “correct” translation. 3. Form is not a property of a finished product; it never achieves a state of fixity but exists as continuously changing process. 4. The image of the translator is actualized in two languages and his mental actualization is integrated with transference into another language. The mental representation of the text that is finally registered in the translator’s mind may not be identical with the original text in formal structure. For the translator, it is equally important to obtain the maximally text-based meaning representation of the original text, and obtain maximal realization of a new text in another language. The early version of a translation tends to correspond more closely to linguistic expressions of S-text, while the later versions would gradually approach the maximally appropriate representation which manifests a T-text schema. There are two forms of schemas: 1. text schema--- in the sense of overall organization of the text. 2. Perceptive schema--- in the sense of the mental structures by which the cognitive or aesthetic subject adapts to and organizes the object.
The process of the rearrangement contains two steps: 1. Image-G: from ST to TT undergoes the progression from SL structured to TL structured. That is the mental manifestation of an imaginary gestalt, inherent in the text schemata and to be actualized by the reader. “G” is for “gestalt”. “Image-G” focuses on the overall structure and aesthetic qualities of an image. 2. Image-G realization: from subjective to equivalent undergoes the progression from passive synthesis to reflective analysis. That is both mental and linguistic actualizations are of a multi-phase nature. Aesthetic progression in literary translation is thus also characterized by the dual activation of two languages schemata.
The translator need to have the duty of reflecting the artistic image presented in the original text by means of a maximal preservation not only of the linguistically relevant information, but also the image. The priorities of the work sequence must be in the order of image primary, form secondary and not vice versa. The relationship between the S-text and T-text is as followed: If the T-text is manifested in identical or invariant formal representation as a result of image –G transformation, it is the coincidentally equivalent aspects between languages or is due to languages universals. Sometimes the coincidence would occur that both the form and the whole image are harmonized, but not always. Therefore literary translation must be coordinated by a conscious establishment of images, especially in translations conduced between languages such as Chinese and English, which differ rather enormously in linguistic structures, and between which formal correspondence is not easy to occur. The process of the translator’s text comprehension is: the translators text comprehension begins with identifying the text, as maintained by gestalt principle, in a holistic perception; and then analysis of the linguistic structure of the text. Finally, strategies are developed for translating the text, based on conclusions reached from both the analysis and the image-G. When being reproduced, isolated phenomena or individual items are traced in the web of relationships and determined by their relevance and function in the text- image. Also indispensable are strategies of linguistic structuration such as rearrangement, but they are mostly applied for the purpose of image- actualization.
References
[1] Barnstone, Willis. The Poetics of Translation .New Haven and London: Yale University Press, 1993, .
[2] Owen, Stephen. Readings In Chinese Literary Thought .Cambridge, Massachusetts and London: Harvard University Press, 1997, .
[3] 駱蓉:《中国古典文学中的格式塔意境》[J]安徽文学(下半月), 2006,(09)。
[4] 姜秋霞:《文学翻译中的审美过程:格式塔意象再造》,商务印书馆,2002年11月。
简介:夏金玲 民族:汉 单位:辽宁工程技术大学外语系 主要从事外语教学及外语教学研究
This paper elaborates on the theory of “aesthetic progression” in literary translation.
Introduction
Aesthetic progression is the interacting process occurring between the text and the translator, in this context; it refers to the process of image actualization. According to “Aesthetic progression” is applied to denote both the translating process and the procedure from the initial reading of a poetic text to the final translation choices and the mental process in image-actualization.
Analysis
There are four reasons to use “aesthetic progression” in literary translation: 1. languages inherently capable of multiple interpretations. 2. It can’t be assigned a single “correct” translation. 3. Form is not a property of a finished product; it never achieves a state of fixity but exists as continuously changing process. 4. The image of the translator is actualized in two languages and his mental actualization is integrated with transference into another language. The mental representation of the text that is finally registered in the translator’s mind may not be identical with the original text in formal structure. For the translator, it is equally important to obtain the maximally text-based meaning representation of the original text, and obtain maximal realization of a new text in another language. The early version of a translation tends to correspond more closely to linguistic expressions of S-text, while the later versions would gradually approach the maximally appropriate representation which manifests a T-text schema. There are two forms of schemas: 1. text schema--- in the sense of overall organization of the text. 2. Perceptive schema--- in the sense of the mental structures by which the cognitive or aesthetic subject adapts to and organizes the object.
The process of the rearrangement contains two steps: 1. Image-G: from ST to TT undergoes the progression from SL structured to TL structured. That is the mental manifestation of an imaginary gestalt, inherent in the text schemata and to be actualized by the reader. “G” is for “gestalt”. “Image-G” focuses on the overall structure and aesthetic qualities of an image. 2. Image-G realization: from subjective to equivalent undergoes the progression from passive synthesis to reflective analysis. That is both mental and linguistic actualizations are of a multi-phase nature. Aesthetic progression in literary translation is thus also characterized by the dual activation of two languages schemata.
The translator need to have the duty of reflecting the artistic image presented in the original text by means of a maximal preservation not only of the linguistically relevant information, but also the image. The priorities of the work sequence must be in the order of image primary, form secondary and not vice versa. The relationship between the S-text and T-text is as followed: If the T-text is manifested in identical or invariant formal representation as a result of image –G transformation, it is the coincidentally equivalent aspects between languages or is due to languages universals. Sometimes the coincidence would occur that both the form and the whole image are harmonized, but not always. Therefore literary translation must be coordinated by a conscious establishment of images, especially in translations conduced between languages such as Chinese and English, which differ rather enormously in linguistic structures, and between which formal correspondence is not easy to occur. The process of the translator’s text comprehension is: the translators text comprehension begins with identifying the text, as maintained by gestalt principle, in a holistic perception; and then analysis of the linguistic structure of the text. Finally, strategies are developed for translating the text, based on conclusions reached from both the analysis and the image-G. When being reproduced, isolated phenomena or individual items are traced in the web of relationships and determined by their relevance and function in the text- image. Also indispensable are strategies of linguistic structuration such as rearrangement, but they are mostly applied for the purpose of image- actualization.
References
[1] Barnstone, Willis. The Poetics of Translation .New Haven and London: Yale University Press, 1993, .
[2] Owen, Stephen. Readings In Chinese Literary Thought .Cambridge, Massachusetts and London: Harvard University Press, 1997, .
[3] 駱蓉:《中国古典文学中的格式塔意境》[J]安徽文学(下半月), 2006,(09)。
[4] 姜秋霞:《文学翻译中的审美过程:格式塔意象再造》,商务印书馆,2002年11月。
简介:夏金玲 民族:汉 单位:辽宁工程技术大学外语系 主要从事外语教学及外语教学研究