《接受美学视角下王维诗歌英译实证研究》由会员上传分享，免费在线阅读，更多相关内容在学术论文-天天文库。
西南科技大学研究生学位论文接受美学视角下王维诗歌英译实证研究2012年级徐宜华姓颂士申请学位级别专业英语语言文学指导教师瘳志勤教授 ClassifiedIndex:U.D.C:SouthwestUniversityofScienceandTechnologyMasterDegreeThesisEmpiricalResearchOntheEnglishTranslationofWangWei’sPoemsfromPerspectiveofReceptionAestheticsGrade:2012Candidate:XuYihuaAcademicDegreeAppliedfor:MasterofArtsSpeciality:EnglishLanguageandLiteratureSupervisor:Prof.LiaoZhiqinApril.3,2015 AcknowledgementDuringthewritingprocessofmythesis,manypeoplegavemecountlessencouragements,supportsandsuggestions.Withtheirhelp,thisthesisisfinished.Firstofall,IwouldliketoextendmygratitudetomyrespectedsupervisorProfessorLiaoZhiqin.Sheisasuperwomanwhocankeepabalancebetweenworkandfamilyanddoeverythingeffectivelyandefficiently,whichgreatlyaffectsmylifeandstudyinSouthWestUniversityofScienceandTechnology(SWUST).Herdedicativespiritandrigorousattitudetoteachingandscientificresearchguidemetomakecontinuousprogressinstudyandscientificresearch.Prof.Liaoengagedineverylinkofthisthesisfromtopicchoicetooutlinedeterminationandrevisionofthesisdetails.WhathastobementionedisthatsheevenhelpedmereleasetheEnglishversionofquestionnaireduringherprecioussummerholidayspentwithherdaughterinAmerica.ImustnotobtainalltheachievementsinSWUSTwithouthersupervision.MythanksalsogotootherteachersaffectingmealotduringmystudyinSWUST.LecturerGaoQinghuastirredupmyinterestintranslationwhenIwasaJuniorBusinessEnglishmajor.IhavetothankProf.NieXiang,Prof.ZengXu,Prof.LiShijun,Prof.HuZhiguoandProf.RenYunzhong,whoprovidedprecioussuggestionsfortopicchoiceandthesiswritingandrevision.Onceagain,thankallthosewhohelpme,supportme,encourageme,denymeorcriticizemeinthewritingprocessofmythesis.Theirdifferentvoicesmakeabetterthesisandabetterme.XuY.H. 西南科技大学硕士研究生学位论文第I页摘要在全球化背景下，国际文化交流愈加频繁，翻译活动则成为促进东西方文化交流的纽带和桥梁。在提升中国文化软实力、推动中国文学作品“走出去”的进程中，中国古典诗歌作为中国典籍的代表，吸引越来越多的专家学者加入到中国古典诗歌英译的队伍中来，其英译的热度只增不减。而王维诗歌作为海外英译热度最高之一的代表，加强对其诗歌英译的研究意义重大。为了促进中国古典诗歌向外传播，提高中国译者译文在读者群中的接受度，为中国译者提供译诗参考，本文以接受美学为理论基础，对王维《鹿柴》一诗六个不同英译版本在中外读者中进行问卷调查，对其接受度进行实证研究。本论文首先从研究背景和研究意义谈起，回顾了国内外学者对王维诗歌英译的研究情况，详细介绍了论文的理论框架接受美学，记录了与接受美学理论相结合的整个实证研究过程，并对王维《鹿柴》由不同身份的译者于不同时间翻译的六个译本接受度进行比较研究。实证研究结果为：深谙中国文化的西方译者英译本比中国学者译本在国内外读者中接受度高；再现原诗意境之美的散文体译本比格律体译本接受度高，在再现原诗之美基础上，再现原诗形式美的译本接受度更高。故国内译者在英译包括中国古诗在内的中国典籍时不应闭门造车，而应充分了解目标读者的期待视野和阅读习惯，如是的译作方能为目标语读者接受，才能真正实现促进中国文化“走出去”的目标。关键词：接受美学；王维诗歌英译；调查问卷；潜在读者；译者创造力和主观能动性 西南科技大学硕士研究生学位论文第II页ABSTRACTUnderthebackgroundofglobalization,internationalculturecommunicationbecomesmoreandmorefrequent,andtranslationworksasthelinkandbridgeconnectingeasternandwesterncultures.IntheprocessofstrengtheningChineseculturesoftpower,ChineseclassicalpoetryattractsmanyscholarsandexpertstoengageinitsEnglishtranslation.Asoneofthemostpopularworkstranslatedabroad,WangWei‟spoemsandtheirEnglishtranslationdeservemoreattention.GuidedbyReceptionAestheticstheory,thisstudywantstoknowaboutreaders‟acceptationandevaluationofdifferenttranslationversions,maketranslatorspayattentiontotheirsubjectivestatusandrealizethesignificanceofconsiderationofimpliedreaders‟preferenceorhorizonofexpectation,enhancetheacceptabilityofdomesticscholars‟translationsamongthereaders,especiallytheforeignonesandprovidedomestictranslatorswithreferencesoftranslationbypracticingempiricalresearchonpopularitydifferenceofsixtranslationsofWang‟sLuzhai.Thisthesisfirstlyintroducesthebackgroundandsignificanceofthisresearch,thenbrieflygoesoverpreviousstudiesoftheEnglishtranslationofWangWei‟spoems,introducestheguidingtheory--ReceptionAestheticsandrecordstheprocessoftheempiricalstudyindetailsbytakingsixtranslationsofWangWei‟sLuzhaiasanexample.TheresultsofthisempiricalresearchrevealthattranslationsofwesterntranslatorswhoarefamiliarwithChineselanguagesandculturesaremorepopularthanthatofdomestictranslators.Basedonrepresentationofartisticconceptionoftheoriginalpoem,popularityoftranslationsinprosyformishigherthanthatinrhymed 西南科技大学硕士研究生学位论文第III页form.Alsotranslationsshowingtheformbeautyoftheoriginalisrelativelymorepopular.Domestictranslatorsshouldthereforebearinmindthatadequateunderstandingoftargetreaders‟horizonsofexpectationandreadinghabitscanhelpthespreadoftranslationandpromotethe“Going-out”ofChinesecultures.KEYWORDS:ReceptionAesthetics;EnglishtranslationofWangWei‟poems;questionnaire;potentialreaders;translator‟screativityandsubjectiveinitiative 西南科技大学硕士研究生学位论文第IV页TableofContentsChapterOneINTRODUCTION.......................................................................11.1ResearchBackground..........................................................................................11.2PurposeandSignificanceoftheDissertation......................................................31.2.1Purposeofthethesis.................................................................................31.2.2Significanceofthethesis..........................................................................31.3ResearchMethodology........................................................................................51.4StructureoftheDissertation................................................................................5ChapterTwoLITERATUREREVIEW..........................................................72.1BriefIntroductiontoWangWeiandHisWorks..................................................72.1.1IntroductiontoWangWei.........................................................................72.1.2IntroductiontoWangWei‟sworks...........................................................82.2IntroductiontotheEnglishTranslationofWang‟sPoems..................................92.2.1EnglishtranslationofWang‟spoemsinChina.........................................92.2.2EnglishtranslationofWang‟spoemsabroad.........................................102.3PreviousStudiesofEnglishTranslationofWangWei‟sPoems........................132.3.1Studiesathome......................................................................................132.3.2Studiesabroad........................................................................................152.4CommentsonCurrentStudiesatHomeandAbroad........................................16ChapterThreeTHEORETICALFRAMEWORKFOREMPIRICALRESEARCHONTHEENGLISHTRANSLATION 西南科技大学硕士研究生学位论文第V页OFWANGWEI’SPOEMS............................................173.1GeneralIntroductiontoReceptionAesthetics...................................................173.1.1HistoricalbackgroundandtheoreticalfoundationofReceptionAesthetics........................................................................................................173.1.2DevelopmentofReceptionAestheticsinwesterncountries..................193.1.3ReceptionAestheticsinChina................................................................203.2CoreConceptionsRelatedtoReceptionAesthetics..........................................233.2.1Horizonofexpectations.........................................................................233.2.2Historyofliterature................................................................................233.2.3Text‟sappealingstructure.......................................................................243.2.4Impliedreader........................................................................................263.2.5Translator‟screativityandsubjectivity..................................................27ChapterFourANEMPIRICALSTUDY:APPLICATIONOFRECEPTIONAESTHETICSINTHETRANSLATIONOFWANGWEI’SPOEMS............304.1ResearchObjective:Readers‟AcceptationandEvaluationofDifferentTranslationVersions........................................................................................314.2ResearchObjects...............................................................................................314.2.1Choicebasisfortranslationversions......................................................314.2.2Choicescopefortranslationversions.....................................................334.2.3AnalysisoforiginalpoemLuzhai...........................................................334.3ResearchQuestionsandHypothesis.................................................................374.4EmpiricalResearchProcess..............................................................................394.4.1Studydesign...........................................................................................39 西南科技大学硕士研究生学位论文第VI页4.4.2Questionnairereleasing..........................................................................444.4.3Datagatheringandresearchanalysis.....................................................444.4.4Discussions.............................................................................................634.4.4.1Importanceoftranslator‟screativityandsubjectivestatus.................644.4.4.2SignificanceofconsideringImpliedReader‟sHorizonofExpectation.............................................................................................................65ChapterFiveCONCLUSION.........................................................................665.1Findings.............................................................................................................665.2Limitations........................................................................................................675.3SuggestionsforFutureResearch.......................................................................68WORKSCITED.........................................................................................................69APPENDICES............................................................................................................76AppendixI:TranslationWorksDuringChinesePoetryUpsurgeinAmerica.........76AppendixII:OriginalChineseQuestionnaire.........................................................80AppendixIII:OriginalEnglishQuestionnaire........................................................82TheAuthor’sRecentPublicationsandResearchInvolved.............84 西南科技大学硕士研究生学位论文第VII页ListofTablesandFiguresTable3TranslationProcess.......................................................................................27Table4.1Respondents‟BackgroundInformationofChineseVersionofQuestionnaire...............................................................................................46Table4.2Respondents‟BackgroundInformationofEnglishVersionofQuestionnaire...............................................................................................48Table4.3ResultoffavoritetranslationchoiceofChineseVersionofQuestionnaire..50Table4.4ChoosingReasonsofChineseVersionofQuestionnaire.............................51Table4.5ResultoffavoritetranslationchoiceofEnglishVersionofQuestionnaire..52Table4.6ChoosingReasonsofEnglishVersionofQuestionnaire..............................53Table4.7GenderandFavoriteTranslationoftheChineseversionofQuestionnaire..55Table4.8GenderandFavoriteTranslationoftheEnglishVersionofQuestionnaire..55Figure4.1AgeandFavoriteTranslationoftheChineseVersionofQuestionnaire.....56Figure4.2AgeandFavoriteTranslationoftheEnglishVersionofQuestionnaire......56Table4.9EducationbackgroundandFavoriteTranslation(ChineseVersion).............57Table4.10EducationbackgroundandFavoriteTranslation(EnglishVersion)...........57Figure4.3MajorandFavoriteTranslationoftheChineseVersionofQuestionnaire..58Figure4.4MajorandFavoriteTranslationoftheEnglishVersionofQuestionnaire..58Table4.11OccupationandFavoriteTranslation(ChineseVersion)............................59Table4.12OccupationandFavoriteTranslation(EnglishVersion).............................59Figure4.5YearofLearningEnglishandFavoriteTranslation(ChineseVersion)........60Figure4.6YearofLearningEnglishandFavoriteTranslation(EnglishVersion)........60 西南科技大学硕士研究生学位论文第VIII页Figure4.7LikingtheTangPoetryornotandFavoriteTranslation(ChineseVersion)61Table4.13YearofLearningChineseandFavoriteTranslation(EnglishVersion).......61Figure4.8WhetherFondofPoetryandFavoriteTranslation(EnglishVersion).........62Table4.14ImpressionoftheTangPoetryandFavoriteTranslation(EnglishVersion)63 西南科技大学硕士研究生学位论文第1页ChapterOneINTRODUCTIONWiththedevelopmentofglobalizationandChina‟scontinuingpromotionofthestrategyof“Going-out”,internationalexchangeprogramsbecomeincreasinglyfrequent.Asthetieofpolitics,economyandculture,translationisincreasinglyimportant.AndtheEnglishtranslationofChineseclassicalliteraturebecomesabighitinChina.AsthemaincarrierofChineseliterature,ChineseclassicsarevitaltargetofEnglishtranslationofChineseculture;andChineseclassicpoetry,asanimportantcomponentofChineseclassics,ispopularwithbothcompatriotsandsomeforeigners.ItplaysakeyroleinthespreadofChinesecultureabroad.Apparently,poetryoftheTangDynastyistherepresentativeofChineseclassicalpoems.AmongthefamouspoetsintheTangDynasty,WangWeiisthemostwell-knownoneexceptLiBaiandDuFu.1.1ResearchBackgroundResearchesontranslationofdomesticclassicalpoemsinthelast20yearsof20thcenturycanberoughlydividedintothefollowingthreeaspects:ThediscussionoftranslationinmetricalstyleorprosyversebasedonXuYuanchong‟s“ThreeBeautyTheory”.Effectsofintroductionoftranslationsubjectonthediversifiedinterpretationofclassicalpoetry.Thediscussionoftheidentityoftranslators(Cong9).Forthefirstquestion,EnglishsinologistWaleysaidinearly20thcenturythatpoemstranslationpayingattentiontorhymewilldefinitelyloseitsspirit.ThushetranslatedTangpoetryintofreeverseorprosyverse.Similarly,ChinesescholarWeng 西南科技大学硕士研究生学位论文第2页XianliangadvocatesthatTangpoetryshouldbetranslatedintoprosyorfreeverse.Ononehand,hesaidthatthetranslationofChineseclassicalpoemsshouldmaintainthesentimentoftraditionalChinesecultureandthecharacteristicsofChineseclassicalpoetrywillbelostiftranslatorsimitatewesternstylecompletely.Ontheotherhand,hearguedthatifthestyleoftranslationversionsisthesamewithoriginalversion,thespiritofChineseclassicalpoemsmustbechanged;andthequalityorexpressivefeaturesofChineseclassicalpoetrycanonlybekeptbytreasuringspiritandneglectingform(Cong9).XuYuanchongrevealedtherelationshipamong“ThreeBeauty”:Imagebeautyisonthefirstplace,thensoundbeautyorgoodnessinsound,andformbeautythelast.Thoughimagebeautyisthemostimportant,itcannotworkwithoutthehelpofsoundbeautyandformbeauty(39).Introductionoftranslationsubjectmakesscholarsrealizetheimportanceofsubjectintranslation.Asthesubjectofpoetrytranslation,translatorsareinterpretersofpoemsatthesametime.LiuHuawenpointedthatthetranslationsubjectsofChinesepoemshavetwokindsofthinkingmode:conceptthinkingandempiricalthinking.Thatmeansdifferenttranslatorswilladoptdifferentwaysofthinkingaccordingtotheirtranslationpurpose(103).Forthethirdquestion,itisgenerallybelievedthatEnglishtranslationworkofChinesepoemscannotonlybedonewellbywesternsinologist,butbyChinesescholars.BecauseChinesescholarscan“readChinesepoemsinChinesewaysofthinking”(Cong14).ItseemsthatthebackgroundoftheEnglishtranslationofChinesepoemsandthediscussionofstylechoiceandtranslator‟sidentitymentionedaboveperfectlyanswerthedoubt“theidentityoftranslator”and“theaimoftranslation”.Butbesidestranslator‟sownbenefits,theaimoftranslationalsoincludesreader.Translatorsshow 西南科技大学硕士研究生学位论文第3页theirtalentsbytranslation;thisistherealizationofindividual,whilereaders‟acceptationofthetranslationandpromotionofthespreadofChineseculturearepursuedbythecollective.Onlyatranslationversionacceptedbyreaderscanbecalledasuccessfulone.ThatisthereasonwhyReceptionAestheticsischosenastheresearchperspective.1.2PurposeandSignificanceoftheDissertationThereasonofchoosingReceptionAestheticsasaperspectiveisthatChineseclassicalpoetryhasbeautynotonlyinsound,form,butalsoinimage.Thereadingprocessisenjoyableforreaders.WangWeiistherepresentativeofpastoralpoetswhosepastoralpoemsareespeciallyfullofnaturalbeauty.ReceptionAesthetics,asthecombinationofreader‟sresponsetotranslationandaesthetics,isarealisticwaytoanalyzebeautyrepresentationinthetranslationprocessofChineseclassicalpoems.Comparedwithotherliteraryforms,scholars,translatorsorstudentstalklittleaboutpoemtranslation,preciselyspeaking,littleaboutWangWei‟spoemtranslationfromthispoint;andfewdoempiricalresearchontheEnglishtranslationofWangWei‟spoems.SoitisvitaltoanalyzetranslationofWangWei‟spoemsfromperspectiveoftranslationaesthetics.1.2.1PurposeofthethesisThisthesismainlyaimstoprovidetranslationguidanceorreferencefordomestictranslatorsbyanalysisanddiscussionoftheresultoftheempiricalresearch.Inthemeanwhile,theauthorwishestocontributetotheoutspreadofChineseclassicalpoetrybyhermeagerefforts.1.2.2SignificanceofthethesisFirstofall,itwillpromoteanddeepenthestudiesofWangWei‟spoemsinEnglish-speakingcountries.Byconsultingtorelevantdomesticliterature,itiseasyto 西南科技大学硕士研究生学位论文第4页findthatmostscholarsinChinastudythespreadandacceptationofChineseclassicalpoetryinforeigncountries.Theirresearchscopeistoowideandmostresearchesarenottime-andpoet-specific.EmpiricalresearchontheEnglishtranslationsofWangWei‟spoemsareevenless.Thissubject,therefore,helpstodeepenandrefinethestudyonthetranslationofWang‟spoemsandprovidessuggestionsfortranslatorsaccordingtotheresearchresult.Second,theresearchisofpracticalsignificance.WangWei‟spoems,especiallyhispastoralpoems,arefilledwithuniqueartisticcharmandaestheticvalue,thushispoemsarepopularinwesterncountries.ThenumberofEnglishtranslationsofWangWei‟spoemsisoneofthegreatestamongthatofthepoetsintheTangDynasty.ThusmoreresearchontheEnglishtranslationofWangWei‟spoemscanprovidedomesticscholarswithreferencewhentheyresearchonthetranslationofChineseclassicalpoetry.Byintensivepoemreadinganddiscriminateliteralmeaning,byanalyzinghowwesternsinologistsdealwithstyle,genre,rhymeduringtheirtranslationprocessandhowtheyrepresentthebeauty,artisticconception,imageandemotionoforiginalpoem,andbyexploringwhatpeculiaritiesofWangWei‟spoemscatchtheeyesofwesterntranslatorsorscholars,itwillgivesuggestionsorguidancefordomestictranslatorsorresearchers.Also,itisfullofculturalsignificance.Itwillcontributetothegoing-outofChineseclassicalpoetry.ItiswellknownthatgovernmentaldepartmentsandliteracycirclehavebeenworkingonthespreadofChinesetraditionalculturerepresentedbyChineseclassicalpoetry.WangWeiwasoneoftherepresentationsofChineseancientpoets,sothestudyofhispoemstranslationinwesterncountriesisnotonlybeneficialfordomesticscholarstoknowabouttheresearchtrendofwesternsinologistandlearntheirstudythoughtsorideas,butforthemtopositivelypromotethespreadofsinologyintheworld.ItwillalsoenhanceWangWei‟shistoricalstatusofaninternationalpoet. 西南科技大学硕士研究生学位论文第5页1.3ResearchMethodologyInordertofigureoutwhichformoftranslation,freeverseorprosyverse,ismorepopularandtogetclearaboutwhichversionismoreacceptable,ChineseclassicalpoetrytranslatedbytranslatorsinEnglishspeakingcountriesorbyChinesescholarswhohaveagoodknowledgeofEnglish,ancombinationofonlineChinesequestionnaireandpaperEnglishquestionnaireofcomparisonresearchontranslationsofWangWei‟sLuzhaiwasissued.InconsiderationofthewiderangeofthepotentialreadersoftheEnglishversionsofChineseClassicalpoems(classicalChinesepoemsamateurs,researchersathomeandabroadorstudentsmajoringinEnglishinChina,etc.),questionnairesinChineseandEnglisharerespectivelydesigned.Researchmethodologylikequantativeanalysisandqualitativestudyareadoptedtoresearchontheacceptabilityofthesamepoem‟sdifferenttranslationversionsbyreadersindifferentculturebackgroundandtomakecomparativestudy.Inthecomparisonprocessofdifferenttranslationversionsinthequestionnaire,methodologylikeinternalstudyandexternalstudyarealsoused.1.4StructureoftheDissertationThisthesisisdividedintofiveparts.Chapterone,namelyintroductionpart,mainlyintroducesthebackgroundandsignificanceofthissubject.ParttwoliteraturereviewbrieflytalksaboutWangWeiandhisworks,introducestheEnglishtranslationofandpreviousstudiesonWangWei‟spoems.Chapterthreeroughlyintroducestheguidingtheory--ReceptionAestheticsandmainlydiscussesfivemajorconcepts:horizonofexpectations,historyofliterature,text‟sappealingstructure,impliedreader,andtranslator‟screativityandsubjectivity.Chapterfouristhemostimportantpartofthispaper,whichisancompleterecordandanalysisoftheempiricalstudyandacombinationofReceptionAestheticsandclassicalChinesepoemstranslation.Chapter 西南科技大学硕士研究生学位论文第6页fourisdividedintofourparts.Theyareresearchpurpose,researchobjects,researchquestionsandhypothesis,empiricalresearchprocessinvolvingstudydesign,questionnairerelease,datagatheringandresearchanalysis,andresearchdiscussions.BytakingWangWei‟sLuzhaiasanexample,thisstudywantstoknowaboutreaders‟acceptationandevaluationofdifferenttranslationversionsandtoletresearcherspayattentiontotheirsubjectivestatusandmakethemrealizethesignificanceofconsiderationofimpliedreaders‟preferenceorhorizonofexpectation.Thelastpartofthisthesisistheconclusionpart.Ittalksaboutthefindingsofthisempiricalresearchanditslimitationsanditalsogivessuggestionsforfutureresearches. 西南科技大学硕士研究生学位论文第7页ChapterTwoLITERATUREREVIEWNumerousresearchachievementsontheEnglishtranslationofWangWei‟sworkscanbefoundathomeandabroad.WesternsinologistsandtranslatorsfocusmoreontheEnglishtranslationofWangWei‟spoems,whiledomesticscholarspaymoreattentiontotheresearchoftheEnglishtranslationofWang‟spoems.2.1BriefIntroductiontoWangWeiandHisWorks2.1.1IntroductiontoWangWeiWangWei(701-761),styledMojie,isafamouspoetandpainterintheTangDynasty(713AD-763AD)andheisalsoadeptatmusicandcalligraphy.HisancestralhomeisinQixianCountyofTaiyuan(today‟sQixianCountyinShanxiProvince)andlaterhiswholefamilymovetoPuzhou(today‟sYongjiCountyinShanxiProvince).thWangWeipassedthehighestimperialexaminationsin9yearofKaiyuanintheTangDynastyandbecauseofhisgoodknowledgeinmusic,hewasappointedasGovernorofritesandmusic,whichwasafiveclassgovernmentposition.ButsoonhewasdemotedasGovernorofWarehousesofJizhouStateasaresultoftheaffairof“YellowLionndDance”.In22yearofKaiyuan,afterZhangJiuling‟spromotiontoimperialchancellor,thWangWeiwaspromotedbyZhangtothepostofMonitoringAssistant.In25yearofKaiyuan,WangwasorderedtovisitthefrontierandwasrecruitedandappointedasSupervisoryCensorandSecretarybyCuiXiyi,ViceMilitaryExecutiveofLiangxiState.Later,WangservedasLeftConsultantofPersonnelDepartment,andfinallyworkedas 西南科技大学硕士研究生学位论文第8页GovernorofImperialEdict.WangWeisuccessivelylivedinseclusioninZhongnanMountainandWangchuan(Iritani67;J.J.Zhang111).Inhisearlyyears,Wanghadasmoothofficialcareerandcreatedlotsofhigh-spiritedandvigorouspoems.Butlaterhefacedwithfrustrationsinofficialcareer,whichprovidedexcusesforhisseclusion.Moreover,becauseWanglivedalonesincehiswife‟sdeathinhisthirtiesandhismotherwasadoptedinBuddhism,hewasdisappointedatofficialdomandpaidhisattentiontopastoralandBuddhism.HelivedinseclusioninWangchuanandcreatedaharmoniouslivingsettingcombiningnature,artandbelief.Allhisexperiencemadegreatimpactonhispoemscreation2.1.2IntroductiontoWangWei’sworksWangWeicreatedabundantworksinhiswholelife.Therearearound400existingpoemsofWangWei.Hislandscapepastoralpoemsandpoemscomplimentingseclusionlifearehisrepresentatives.Hisachievementinportrayingnaturesceneryinpoemsmakeshimagreatmasterinpastoralpoemscreation.Theauthorwillmakebriefintroductiontohispastoralpoems,frontierpoemsandfarewellpoemsintermofhiscreationtheme.2.1.2.1WangWei‟slandscapepastoralpoemsWangWeiinheritedanddevelopedthetraditionofXieLingyun‟sscenicpoems,andalsoadoptedthefeaturesofTaoYuanming‟spastoralpoems,whichmadehislandscapepastoralpoemsreachasummit.ThusWang‟slandscapepastoralpoemsplayedanimportantroleinthehistoryofChineseclassicalpoetry.SimilartotheworksofTaoYuanming,XieLingyunandotherhiscontemporarypastoralpoemswriters,Wang‟slandscapepastoralpoemsarealsoplain,naturalandrefreshing.ByabsorbingtheinterestandcharmofTaoYuanming‟poemsandtheexquisitestyleofXieLingyun‟spoems,WangWeigreatlypromotedthedevelopmentoflandscapepastoralpoems.His 西南科技大学硕士研究生学位论文第9页poemisacombinationofindividualityandnature,aswellasacombinationofmotionandscenery.Also,hispoemsarefullofbroadartisticspirit,distinctiveandcolorfulimage.HislandscapepastoralpoemsaretherepresentationofhiscomfortableseclusivelifeandofthebeautifulsceneryinZhongnanMountainandWangchuan.2.1.2.2WangWei‟sfrontierpoemsThereareabout40frontierpoemsofWangWei.MostofthemwerecreatedduringtheperiodwhenheservedasSecretaryofCuiXiyi,ViceMilitaryExecutiveofLiangxiState,from25thyearto27thyearofKaiyuanintheTangDynasty.Someofhisfrontierpoemsdescribesoldiersandtheirlifeinfrontier;someofthemchanthistoryandreflectonthepast;someportraythecustomsandpracticesbeyondthefrontier.2.1.2.3WangWei‟sfarewellpoemsFarewellpoemsofWangWeiareusuallyopen-minded,optimisticandheroic.ThoughmanycriticsholdthatWangWeiisemotional,butthetoneofhisfarewellpoemsisoptimistic,whichdiffersfromthesorrowandcomplaintsinmostfarewellpoems.Also,Wang‟sfarewellpoemsaretruerecordoflife,whichvividlyandtrulyshowabroadpictureofsociallifeandcolorfulnature.WangWeiattachesgreatimportancetotheinnerfeelingofaestheticsubjectivity.Hisfarewellpoemsareofuniqueaestheticsignificanceandaestheticvalue(J.J.Zhang112-115).2.2IntroductiontotheEnglishTranslationofWang’sPoems2.2.1EnglishtranslationofWang’spoemsinChinaThereareagreatnumberofscholars,poetsandtranslatorsworkinghardintheEnglishtranslationofChineseclassicalpoetryandtheiranthologiesoftranslatedpoemsarealsopublished.SunDayu,FengHuazhan,WengXianliang,XuYuanchong,YangXianyi(workedwithhiswifeDaiNaidie),WangBaotong,SunLiang,XuZhongjieandHuangXinquetalarerepresentatives.Butthenumberofspecialissuesaboutthe 西南科技大学硕士研究生学位论文第10页EnglishtranslationofWangWei‟spoemsathomeisrelativelysmall.100WangWei’sPoemsinEnglishVersetranslatedbyWangBaotonginvolvesahundredWang‟spoems.YangXianyiandDaiNaidie‟sSelectedPoemsbyWangWeiincludesonly30translatedpoemsofWangWei.OnlyabouttenpoemsofWangWeiareincludedin300TangPoemstranslatedbyXuYuanchong.NoEnglishtranslationsofcompleteworksofWangWeihavecomeoutyet,whichrequiresfurthereffortsfromdomesticscholarsandtranslators.FromtheEnglishtranslationofWangWei‟spoemsinChina,itcanbeclearlyseenthattheEnglishtranslationofWang‟sworkisdispersal-oriented,andsometimesselectedtranslationscomeout,however,therearerareorevennonetranslationsofcompleteworksofWang‟spoemsathome.2.2.2EnglishtranslationofWang’spoemsabroadTheEnglishtranslationofWang‟spoemsgoeswiththeEnglishtranslationoftheTangpoems,anditgetspopularmainlyinBritainandAmerica,thetwoimportantEnglish-speakingcountries.MosttranslatorsintheearlytimeoftheEnglishtranslationofTangpoemsareBritish,butAmericantranslatorsovertaketheminlateperiod.Infact,theEnglishtranslationofWangWei‟spoemsabroadismuchprosperousthanthatathome.2.2.2.1TranslationofWangWei‟spoemsinBritainBritishsinologistHerbertAllenGiles(1845-1935)wasafamousscholarwhotranslatedandresearchedChineseclassicalpoemsinanearlytime.HewasalsoapioneerofthecommunicationofChineseandwesternculture.HetranslatedpoemsofMengHaoran,WangWei,LiBai,DuFu,BaiJuyi,HanYu,etc.inhisworkAHistoryofChineseLiterature.HealsotranslatedandevaluatedWangWei‟spoemsinGemsofChinesePoetryandChinesePoetryinEnglishVerse.Gileschoseliteraltranslationand 西南科技大学硕士研究生学位论文第11页paidattentiontorhymewhentranslatingTangpoems.Buthistranslationsfocustoomuchonrhyme,whichmaylosethespiritofWang‟sworks(Z.Z.MaandR.Z.Ren242).Anotherwell-knownsinologist,orientalistandauthorityofTangpoetrytranslationintheUnitedKingdomisArthurWaley.HewasamasterofChineseandChineseculturewhohadneverbeentoChina.ArthurWaleytranslatedsomeofWangWei‟spoemsinhisAHundredandseventyChinesePoems,MoreTranslationsfromtheChineseandSeletChineseVerses(L.N.Wang4).HetranslatedWangWei‟spoemsintoprosyverseandtriedhisbesttokeepthespiritoforiginalpoems.AccordingtoMaZuyiandRenRongzhen‟sHistoryofWorld’sTranslationsofChineseWritings,thereareeightmainpoetryanthologiesofEnglishtranslationofTangpoetryinBritainfromyear1909to1973,butworksthatincludetranslationofWangWei‟spoemsarenotclear.PublishofPoemsofWangWeibyPenguinBooksisregardedasaspecialissueofWangWei‟spoems,with120Wang‟spoemsincluded.G.W.RobinsonintroducedWangWei‟slifeandthoughts,andmadecommentsonWang‟spoemsintheprefaceofthebook.2.2.2.2TranslationofWangWei‟spoemsinAmericaZhuHuipointedoutthatAmericafacedwiththreetimesofChinesepoetrythupsurge:thefirst30yearsof20centuryisthefirstChinesepoetryupsurge,1950sto1960sthesecond,andtheyearsafter1970sthethird.However,aftercarefulreading,comparingandanalyzingmaterialscollected,itcanbeevidentlyfoundthatthetranslationworksofChinesepoemsinthesecondChinesepoetryupsurgecontinuetospringup,thatis,thesecondChinesepoetryupsurgeisnotoveryet.AndthemaintranslationworksofChineseclassicalpoemsinAmericaarelistedinchronologicalorderinAppendixA. 西南科技大学硕士研究生学位论文第12页Basedonthecollecteddatabytheauthor,thefirsttranslationcollectionofChinesepoemsinAmericawasEzraPound‟sCathay,whichincludespoemsofQuYuan,LiBaiandWangWei.LaterAmericanfemalepoetAmyLowellandherfriend,along-timeresidentofChina,Mrs.FlorenceAgscoughco-publishedthebookFir-FlowerTablets:PoemsTranslatedfromtheChinese,whichembodies160Chinesepoems.ThenKiangKang-HuandWitteBynnerco-translatedSunZhu‟sThreeHundredPoemsoftheTangDynasty,andnamedthebookTheJadeMountain,AChineseAnthology,BeingThreeHundredPoemsoftheTangDynasty.WitteBynnertranslatedChinesepoemsinfreeverseandheconveyedthespiritandmoodoftheoriginalwork,whichbroughthimappreciationinwesterncountries.DuringtheperiodofthesecondChinesepoetryupsurge,agreatnumberoftranslationscameout.KennethRexroth‟s100PoemsFromtheChineseandJamesOneHundredMorePoemsfromtheChineseplayedimportantrolesinthespreadofChinesepoetryinAmerica.In1958,ChangYin-nanandLewisC.Walmsleytranslated167poemsofWangWeiandnamedthecollectionPoemsbyWangWei.TheyintroducedlifeofWangWeiandtheyclassifiedtranslationsofWang‟spoemsbylinesandcharacterssuchaspoemsoffourfive-characterlines,poemsoffourseven-characterlines,etc.AlsotheytranslatedtwentypoemscreatedbyWangWeiinWangchuanvalley.ThearrangementoftheirtranslationsisinnovativeanditisconvenientforreaderstofindaspecificpoemofWangWeiquickly.In1972,ChineseAmericanWai-limYiptranslatedandpublishedHidingtheUniverse,PoemsofWangWei,whichisafamousreferencetothetranslationstudyofWangWei‟spoems.EliotWeinbergerandOctavioPazpublishedaninfluentialversionnamed19WaysofLookingatWangWei:HowaChinesePoemisTranslatedin1987.Thisbookcollected19translationversionsofWangWei‟sLuzhai.Theyanalyzedeachtranslationversionandthecharacteristicsofthetranslators 西南科技大学硕士研究生学位论文第13页mentionedinthebookinauniqueperspective.TheirworkisanefficientresourceoffindingoutWangWei‟stranslationversion.JeromeP.SeatoninhisarticleOnceMore,ontheEmptyMountainmainlytalkedaboutWangWei‟sfamouspoem,perhapshismostfamous:DeerPark.Jeromesaid“Thispoem‟sstructureandimageryalone,withoutallusionanddeepwordplay,aresufficienttocarryitsmeaningtothemodernworldthroughthemediumofsensitiveandtalentedtranslatorsisonlythemostobviousofthemiraclesofWangWei‟sart”(133).In2006,DavidHinton‟sTheSelectedPoemsofWangWeicameout.2.3PreviousStudiesofEnglishTranslationofWangWei’sPoems2.3.1StudiesathomeNotlikethehottranslationsituationofWangWei‟spoemsinwesterncountries,Chinesescholars‟researchespaymoreattentiontotranslationofChineseclassicalpoetry.Forexample,XuYuanchongputforward“ThreeBeautyTheory”forthefirsttimeinhisthesisStudyonTranslationVersionsofChairmanMao’sPoetryin1979.Xu‟s“ThreeBeautyTheory”hasalwaysbeenplayinganimportantroleinguidingthetranslationofChinesclassicalpoetry.TranslatorsAssociationofChinacompiledabooknamedCollectedPapersofTranslationStudy(1894-1948)in1984,whichcompletelyrecorded51papersabouttranslationtheoriesfrom1894to1948.ThesepaperscamefromrepresentativetranslatorsonthattimesuchasYanFu,LiangQichao,ZhuZiqing,FuSinian,LuXun,LiuBannong,QuQiubai,etc.Someofthemtalkedaboutpoemtranslation.Atthesameyear,TranslatorsAssociationofChinacompiledanotherbooknamedCollectedPapersofTranslationStudy(1949-1983),whichincludes61papersfrom54scholarsortranslators,representingthedevelopmentoftranslationtheoryinNewChina.Thebook,significantenough,wascompiledbyprofessionaltranslation 西南科技大学硕士研究生学位论文第14页organization,whichindicatesthatChinesetranslationtheorystudyisnotrestrictedinpersonaleffort.ZhuHuigaveageneralintroductiontothespreadhistoryofChineseclassicalpoetryinAmericaanditsdevelopmentandstatusquoaswellasitsinfluenceonAmericanmodernpoetry.HepaidmoreattentiononthetranslationandacceptationofTangpoetryinAmerica.In2005,FuHaotalkedaboutwordchoice,syntactics,rhyme,etc.onthebasisofanalyzingdifferenttranslationversionsofChineseclassicalpoemsinhisarticleOntheTranslationofChineseClassicalPoems.XuZhixiaoprovidedChinesescholarswiththeories,methodsandnewperspectivebyanalyzingspecificAmericanscholar‟stranslationofDuFu‟spoems.MethodslikelanguagestructureanalysesarenotonlysuitableforanalyzingDu‟spoemsbutotherpoets‟poems.YangXiumeiandBaoTongfaclarified,classifiedandanalyzedalltheacademicpapersaboutthetranslationofChineseclassicalpoetryonCNKIfrom1999to2008.TheirresearchresultrevealedthatdomestictranslationfieldhadalwaysattachedgreatimportanceontranslationofChineseclassicalpoetryanditgainedastrongdevelopmentmomentuminrecentyears.Theirempiricalstudiesarepersuasiveandinnovative,whichprovidesotherresearcherswithpowerfulexamples.DangZhengshengtalkedaboutthetranslationhistoryofChineseclassicalpoetryinJapan,Korea,France,Germany,BritainandAmericaandanalyzeditsinfluenceabroad,whichofferedresearchersofChineseclassicalpoetrytranslationacleardevelopmenttrackandabroadstudyview.ZhangMeitalkedaboutthetranslationandacceptationofChineseclassicalpoemsinAmericafromtheperspectiveofRewritingTheoryin2012.However,therangeofresearchabovearetoowideandresearchesarenottime-andpoet-specific,andfewresearchersorscholarsdosomespecificworkontheEnglishtranslationofWangWei‟spoems.LüShuxiang‟sAComparativeStudyonEnglishTranslationsofOldGemswas 西南科技大学硕士研究生学位论文第15页publishedin1980.TwopoemsofWangWeiwereincludedinhisbook.Mr.Lümadecomparisonbetweendifferenttranslationversionsofeachpoemandmadedetailedanalysis.WangLinamadeageneraloverviewoftranslation,spreadandinfluenceofWangWei‟spoemsabroad,butshepaidtoomuchonthetranslationinJapanandKoreaandtalkedrelevantlylittleaboutthetranslationinEuropeandAmerica.In2011,YangZiyintalkedaboutthetranslationstatusquoandthebasicprincipleinreproducingthestyleofWangWei‟spastoralpoemsinhismaster‟sthesisOnStyleReproductioninTranslatingWangWei’sPastoralPoetryintoEnglish.2.3.2StudiesabroadOverseascholarsmainlyresearchWangWei‟spoemsinthefollowingparts:analysisofthethemeofWang‟spoems;discussionoftheartistryofhispoems;applicationofnewresearchmethodology;studyonWangWei‟slifetime(L.N.Wang4).InhisbookHidingtheUniverse,PoemsbyWangWei,Wai-limYipclaimedthatpoetslikeWangWeirootintheaestheticideology“self-alteration”ofTaoistSchool.Thepoemsreflectthepureexperienceanditseemsthateverythinginnatureistalkingandmoving.Whencreatingapoem,thepoetsdonotgetinvolvedandtheylookeverythinginnature‟seyes.Wai-limYip‟sideaindicatesthatWangWei‟screationisaffectedbyTaoism.Ontheotherhand,JamesJ.Y.Liu,BurtonWatsonandWai-limYipallmadedeepresearchontheimagerepresentationandtheeffectofWangWei‟spoemsandtalkedabouttheirartistryvalue.WhilePaulineYu,anoutstandingstudentofJamesJ.Y.Liu,advocatedthatresearchesonWangWei‟slifetimeandonpoemcreationbecombined.SosheclassifiedWangWei‟spoemsintofourcategories:poetsofyouthWangWeiandhisotherliteraryworks;courtpoetry,Buddhistpoetryandpastoralpoetry.Also,shemadetextualresearchonWangWei‟sofficialpositionandhistermofservice. 西南科技大学硕士研究生学位论文第16页2.4CommentsonCurrentStudiesatHomeandAbroadIntermsoftheEnglishtranslationofWangWei‟spoems,thenumberandeffectofworksofwesterntranslatorsaremuchgreaterthanthatofdomestictranslators.WesternsinologistsortranslatorspaymoreattentiontotranslationpracticeandChinesecultureresearchratherthanthecombinationofpuretheoryandtranslationofChineseclassicalpoems.ItseemsthatthisisoneofthereasonsthatthenumberoftranslationsofWangWei‟sworksabroadismuchlargerthanthatathome,whichneedsdomestictranslator‟sreflections.ThoughdomesticresearchesonthetranslationofWang‟spoemsaremorefrequentthanthatabroad,publishedtranslationcollectionsofWangWei‟sworksarerare.AsahomelandofWangWei,itisanawkwardthatdomestictranslationsofhispoemsarerarelypublishedabroad,andmosttranslationpublicationsarederivedfromwesterntranslators. 西南科技大学硕士研究生学位论文第17页ChapterThreeTHEORETICALFRAMEWORKFOREMPIRICALRESEARCHONTHEENGLISHTRANSLATIONOFWANGWEI’SPOEMSTheoreticalframeworkofathesisisliketheframeworkofahouse.Withoutaframework,thehousewillcollapse.Similarly,withouttheoreticalframework,athesiswilllackofmainstayandbecomescattered.Tomakeawellbuiltthesis,ReceptionAestheticsischosennasthetheoreticalguidanceofthethesis.3.1GeneralIntroductiontoReceptionAestheticsThedevelopmentofmodernliterarytheoryisdividedintothreestages:stageofconcentratingonauthors(periodofromanticismandthewholenineteenthcentury);stageofabsoluteconcentrationonworks(newcriticism);andstageofsignificantfocusonreadersinrecentyears(Eagleton107).ThetheoryofReceptionAestheticsbelongstothethirddevelopmentstageofliterarytheory.FoundedbyKonstanzschool,ReceptionAestheticsoriginatesinGermanyin1960s.Ithasmadeprofoundeffectonthedevelopmentofliterarytheoriesineverycountry.ReceptionAestheticspaysitsattentionfromtexttoreaders,emphasizestheimportanceofreaders‟subjectivereadingreceptionofliteraryandbeginsaneraofreaderreceptioninliterarycriticism(D.H.HuangandZ.G.Huang31).Thistheorygetsmoreandmoreattentioninrecentthirtyyearsanditevenpermeatesintofieldsoftranslation,education,music,etc. 第18页西南科技大学硕士研究生学位论文3.1.1HistoricalbackgroundandtheoreticalfoundationofReceptionAesthetics3.1.1.1HistoricalbackgroundInthe1960s,aheatdebateonrelationshipbetweenliteraryandsociety,literaryandreality,aswellasonissuesofthefunctionofliteraryandsocialeffectbrokeoutinliterarycircleoftheFederalRepublicofGermany.Someradicalwriterandtheoreticalresearcherscriticizedsharplythefactthatliterarycreationandtheoreticalresearchwereisolatedfromrealityandsociety.Theyalsocondemned“textcriticismschool”whoruledliterarycriticismandliteraryresearch,arguingthatthetheoryandmethodsof“textcriticismschool”wereoutofdateandcouldnotmeettheneedsofnewsituation,thustextcriticismmustbereplacedbynewliterarytheoryandmethods(G.F.Zhang71).Therefore,sometheoristbegantoexplorenewtheory,andReceptionAestheticscameintobeing.3.1.1.2TheoreticalfoundationHermeneuticsandphenomenologyaretheoreticalsourcesofReceptionAesthetics.HansRobertJaussandWalfgongIserarerespectivelyaffectedbyHermeneuticsandphenomenology.HansGeorgGadamer,representativeofHermeneutics,believesthatworkitselfisthetruesubjectofwork.Aworkdoesnotexistyetwhenitiscompleted.Itsvaluecanbeonlyrealizedbyreaders‟readingandcomprehension,andthentheworkgetsgenuineexistence.Thisinterpretationtoartexistenceisveryneartoreceptiontheory.Onthistheorybasis,HansRobertJausselucidatedhisliterarytheoryofreadersreadingandacceptability(GuandJ.W.Liu90).AnotherrepresentativeofReceptionAestheticsWalfgongIserisgreatlyinfluencedbyRomanIngarden‟sphenomenologicalaesthetics.Ingardenputsforwardindeterminacyandreificationinhisresearchonreadingprocessofliteratureandrelationshipbetweentextandreaders,whichdeeplyaffectedIser‟sideasabout 西南科技大学硕士研究生学位论文第19页ReceptionAesthetics(D.H.HuangDinghuaandZ.G.Huang32).3.1.2DevelopmentofReceptionAestheticsinwesterncountriesAfteritsbirth,Konstanzschoolisfullofvitalityanditsopinionsortheorycatchestheeyesoftheoristsinothercountries.WorksofHansRobertJaussandWalfgongIseraretranslatedintomanylanguagesandarewidelyreadintheWest.ReceptionAestheticsquicklygetswidespreadintheworld.AccordingtoZhuLiyuan,therearefourstaplebranchesofit.ThefirstoneisReceptiontheoryintheGermanDemocraticRepublic(GDRhereinafter).ScholarsinGDRpaycloseattentiontoandtookgreatinterestinReceptionAestheticsintheformerWestGermany.Butowingtoideologicaldivergence,theyarewaryofthistheoryatthesametime.SotheytrytoabsorbandtransformReceptionAestheticswithMarxism.TheythinkthatresearchonliteraturereceptionoracceptabilityisjustanimportantpartofMarxismaesthetics,butnotthecentralpartandcertainlynottheonlypartofit.ScholarsintheformerEastGermanybelievethatliteraryworkscannotbesimplycalledcommodity,althoughliteraryproductioncanbeonlyacceptedbyreadersafterenteringintothefieldofcirculation.TheyalsodemonstratehistoricalrationalityofReceptionAestheticsbystudyingtheinteractionbetweenliteraryproductionandacceptabilityinthelonghistoryofthedevelopmentofliterature.Easternscholars‟ReceptionAestheticspaysmoreattentiontothediscussionofthesocialfunctionofliterature.AnotherbranchofReceptionAestheticsisartreceptiontheoryinSoviet.SovietScholars‟opinionsofandcontributionstoartreceptiontheoryconsistoffouraspects.First,theyarguethatartreceptionisanintegralandindispensablepartofthewholeprocessofartcreation.Second,Sovietscholarsstresstheimportanceofartreception,buttheydonotgototheextremeof“readeriseverything”.Third,someofSoviet 西南科技大学硕士研究生学位论文第20页scholarsdobeneficialresearchesonthepsychologicalmechanismofartacceptabilityorreception.Fourth,theycombineartreceptionwithliterarystudy.ThethirdstaplebranchofReceptionAestheticsisthereadingtheoryofpost-structuralisminFrance.Post-structuralismisinfactapeculiarreceptiontheorysurpassingreceptioninsomeextent.Thereasonofsayingsoisthatwhenreceptiontheoristsshifttheirhermeneuticcenterfromtexttoreaders,post-structuralismcancelsallcentersbytextualizingthereader.ThelastalsothemostimportantbranchofReceptionAestheticsisreader-responsecriticisminAmerica.Reader-responsecriticismisacriticalapproachemphasizingthereactionorresponseofreaders,payingattentiontotheinvestigationofreaders‟readingandadvocatinganalyzingthereaders‟readingprocessandtheirresponses.3.1.3ReceptionAestheticsinChinaThoughittakesReceptionAestheticsabout20yearstotraveltoChina,butasabranchofPhilosophy,aestheticshasalonghistoryinChina.Inancienttimes,therearealotofscholarswhoclaimmuchinfluentialandvaluableunderstandingabout“beauty”.Forexample,Confuciusoncesaid:“Beautymeansperfection”,Menciussaid:“Repletionisbeauty”,Xunzisaid:“Incompletenessandimpuritycannotbecalledbeauty”,etc.IncontemporaryChina,YanFucameupwithtranslationpreposition“faithfulness,expressivenessandelegance”intheprefaceofhistranslationofEvolutionandEthics.MaJianzhongwasthefirsttranslationtheoristtotalkaboutspirit.ButFuLeiwasthefirstscholartointroducesimilarityinspiritandsimilarityinformintotranslationstudiesandputthemintohisowntranslationpractice.Hewrotein1951intheretranslationprefaceofLePereGoriotthattranslationwaslikecopyingapainting;thetranslationeffectshouldpursuesimilarityinspiritratherthaninform.In 西南科技大学硕士研究生学位论文第21页1960s,QianZhongshucameupwiththenotionofperfectionastranslationcriterion.HesaidinLinShu’sTranslationthatwhentranslatingonelanguageintoanotherone,translationworkshouldnotbefarfetchedbecauseofculturaldifferencesandcouldkeepthetasteoforiginalwork(M.Q.Liu69-75).AestheticsnotonlyhasalonghistoryinChina‟stranslationtheory,butalsocatchestheeyesofmanyscholarsandtranslators.FuZhongxuantalkedaboutformandcontentbeautyofsourcetextandtargettextinthepartoftranslationaestheticsobjectinhisbookPracticalTranslationAestheticsrespectively.Healsogavehisopinionsonuntranslatability.Inhiseyes,translationaestheticsubjectconsistsoftranslator,editorandreader.Hemainlyintroducedwaystorepresentthebeautyoforiginalworksuchasamplification,omission,extension,etc.ComparativeStudyonTranslationwrittenbyXiYongjiin1993wasinfactthebasisofhisComparativeAestheticsofLiteraryTranslationin2001,whichwastherudimentoftranslationaesthetics.XiYongjiusedtheword“translationaesthetics”（“ComparativeAestheticsofLiteraryTranslation”200）.HesaidthatthecombinationofliterarytranslationaestheticswithChineseandwesterncultureprovidedtranslationaestheticswithlastingculturalbackground,whichnotonlybroadenedthestudyvision,butchangedthethoughtmechanismofresearchandthenchangedtheresearchmethods.WangLutriedtoexploretheroleoftheaestheticfunctionoflanguageinthepoemtranslation.Sheanalyzedtheaestheticfunctionoflanguagefromthreeaspects:thesoundsystem,thestructuresystemandthemeaningsystem,whichofferedeffectiveguidefortranslators.LiuMiqing‟sIntroductiontoTranslationAestheticsin2005hasapioneeringinfluenceoncomparativeanalysisofpoetryandtranslationaestheticsestablishment.Hemainlytalkedabouttheaestheticoriginoftranslation,translationaestheticsobjectandtranslationaestheticssubject.Heintroducedtwoattributesoftranslationaesthetics 西南科技大学硕士研究生学位论文第22页subject:restrictedbytranslationaestheticsobjectandsubjectiveinitiativeoftranslators.Whenitcomestotranslators‟subjectiveinitiative,Liudiscusseditfromthefollowingaspects:AestheticFeeling,Knowledge,CapabilityandTenacity.Hehaduniqueopinionsontranslationaestheticidealandtranslationaestheticrepresentation.MaoRonggui‟sTranslationAestheticsin2005usedtranslationaestheticsasthenameofabookforthefirsttime.Hemadeamacroanalysisoftranslationaesthetics.HecreativelyaskedquestionslikewherethebeautyofChineseliesandwherethebeautyofEnglishlies.Inresponsetohisquestions,hehimselfanalyzedthefactorsthatbeautifyChineseandEnglish.Nearlyallscholarstalkedabouttranslationaestheticswillnotmissthesetwobooks.SunJianchengandWenXiuyingtalkedabouttranslationaestheticsthoughtsandtranslationwork‟sbeautyrestructuring.Theymainlyfocusedonrestructuringsoundbeauty,sentencebeautyaswellasphrasebeauty.SuiRongyiandLiFengpingdidatentativestudyofwhetherandhowSino-westernaestheticthinkingshinesonthewaytothedevelopmentoftranslationstudies.ZhengXinmainlyreferredtoLiuMiqing‟stheoryoftranslationaestheticsinhermaster‟sthesisOnEnglishVersionsofLiBai’sPoemsfromthePerspectiveofAestheticsofTranslation.Shewasthefirstmastertoanalyzeaspecificpoet‟sworkfromtheperspectiveoftranslationaesthetics.Butherthesisisalittlebitsimpleandlacksofelaboratestructurearrangement.Itisalittlepitytosomedegree.SuiRongyiandLiFengpingdiscussedthetranslationofChineseessayfromtheperspectiveoftranslationaestheticsundertheculturalturnbackground.TheytooktwotranslationversionsofPeanutsasanexample.WangHoupingtalkedaboutXuYuanchong‟stranslationtheoryinhisdoctoraldissertationLiteraryTranslationStudyfromthePerspectiveofAesthetics:XuYuanchong’sTranslationTheoryandPractice.LuZhongleimainlydiscussedtheissueofbeautyrepresentationintranslationprocess.He 西南科技大学硕士研究生学位论文第23页putforwardtheideathat“thekeyofbeautytranslationliesinbeautyinterpretationandbeautytranslationisthemainpartoftranslation”(127).3.2CoreConceptionsRelatedtoReceptionAesthetics3.2.1HorizonofexpectationsHorizonofexpectationsisputforwardbyHansRobertJauss.Itmeansthatinthebehaviorofliteraryacceptability,readers‟appreciationrequirementsandlevelofliteraryworksareformedbasedonvariouspreviousexperiences,interests,literacy,ideal,etc.;inspecificreadingactivity,itisshownasasortofpotentialestheticexpectations.Jaussthoughtthatinthehistoryofliterary,allworks,asvariousliteraryevents,werebasicallyintegratedbyexpectationshorizonofreaders,criticsandwritersincontemporaryandfuturetimes.Inotherwords,isolatedliteraryworkswereconnectedwitheachotherbytakingadvantageoftheexpectationshorizonofreadersandwriters.Tomakethistermeasilyunderstood,thefollowingexampleisoffered.Forinstance,whenhereadsanovelaboutaCinderellastory,onemusthashisorherownimagineoftheplotdevelopment.Ifthewriter‟splotsettingissimilartotheirs,theymayfeelexcitedorinterested,whichmaycontributetotheircontinuousreadingofthisnovel.However,readers‟horizonofexpectationsisnotstatic.Everypracticeofnewartappreciationandevaluationisrestrainedbyoriginalhorizonofexpectations,andmeanwhile,itcorrectsandwidensoriginalhorizonofexpectations.Thisisbecauseanyoutstandingartisticworkpossessesaestheticcreationindividualityandinnovation(L.Y.Zhu35).3.2.2HistoryofliteratureThehistoryofliteratureisahistoryofeffectandreceptionaccordingtoHansRobertJauss.Heregardedthehistoryofliteratureas“literaturehistoryofreaders”andthoughtthatliteraryworksweredoomtobecreatedforthesereceptionists.Thusthe 西南科技大学硕士研究生学位论文第24页statusofreaderswaspaidgreatattentionbyJauss.Jaussexplainedreadingprocessinthefollowingdetails.First,beforethestartofreadingbehavior,anyreaderhashisownhorizonofexpectations,namelyreadershavetheiruniqueintentionsofeachliterarywork,whichiscalledpre-understandingofcertainworks.Suchintentionsandsightsbeforereadingdeterminereaders‟acceptancestandardofthecontentandstyleofworkstheyread.Second,readershaveuniqueunderstandingandinterpretationofthemeaningofthework,andtheirreceptionisinterpretativereception.Thiswillcertainlybringaboutsubjectiveissuesofinterpretation--differentreaders‟tastesandqualifications,whichwillcausethefactthattheinterpretationofHamletdifferfromreadertoreader.Third,readingbehaviorisaprocessofimaginaryrecreationofreaders.Whenreaders‟previousestheticexperienceandimageofsimilarorrelatingworksareawakenbynewworks,theywillcompareprevioushorizonofexperiencewithnewhorizonofexperiencecausedbypresentworks.Atthetimeofacceptingnewwork,readers‟previoushorizonandintentionareactuallyadjustedandreformed,andevenremade.Fourth,fromahigherperspectiveofhistory,thelengthoftheartisticlifeofaliteraryworkisdeterminedbyreaders‟receptions.Someworksmaybewell-knownforatimeatthebeginning,butareforgottenbyreadersquickly;incomparison,someworksmaybenotelessatfirst,buttheybecomeabighitinlatertimesbecauseofreaders‟acceptability.Soitcanbeseenthat“thehistorylifelengthofaworkcannotbeimaginedwithouttheactiveinvolvementofreaders.Becauseonlybyreaders‟transmittingprocess,canliteraryworksenterintoahorizonofexpectationsthatiscontinuouschanging.”3.2.3Text’sappealingstructureText‟sappealingstructureisputforwardbyWalfgongIser.Ithastwocomponents:textblanksandspotsofindeterminacy. 西南科技大学硕士研究生学位论文第25页AccordingtoIser,thereareblanksinstructureoftext.Textblanksarepartsthatarenotwrittenoutornotdefinitelywrittenoutinthetext,andasamatteroffact,theyareimpliedorsuggestivecontentsthealreadypresentedpartstrytoconveytoreaders.Iserbelievedthatsuchblanksexistedinallstructurelayersofliterarytext,andevidentlyexistedinthelayerofplotsstructure.Hesaid“Theclueofplotsissuddenlyinterruptedordevelopsinanunexpecteddirection.Usuallyastoryfocusoncertainindividuals,thenanabruptintroductiontonewrolesisfollowed.Thesesuddenlychangesareoftenmarkedbynewchapter,thus,theyareevidentlydistinguished”(Iser,“LiteratureandCommunication”22).Thiswillcausethepauseofplotsorblanks,andtheseblanksareactually“aninvitationforreaderstoconnecttheabsentplot”,inotherwords,toinvitethereaderstocompletetheblanksandlinkuptheplots.Besides,thereshouldbeblanksinthedescriptionofpersonalcharacter,dialogue,lifesituation,psychologicaldescriptionaswellasdetails,becausetextblankisamotivationforreaderstocompletetextandfinishaworkwiththeirimagination.AccordingtoIser,theliterarywork‟sindeterminacyisnotobstaclesbutthebasicconditionforreader‟sacceptabilityofaworkbecausewhat‟suntoldinaworkismuchmorecrucialthanwhathasbeentold.Therefore,heinheritedandextendedIngarden‟sspotsofindeterminacy,andwrotethefollowingwords“indeterminacyisarousedbythecommunicativefunctionofliterature,andasthisfunctionisperformedbyformulateddeterminacyofthetext,evidently,theindeterminacyderivingfromthespecifictextcannotexistwithoutastructure.Asamatteroffact,twobasicstructuresofindeterminacyexistintext-blanks.Theyarenecessaryconditionsforcommunication”(Iser,“TheActofReading”182).Overallspeaking,appealingcharacteristicisthemostbasicstructuralfeatureofliterarytext,andithasbecomeapreconditionfortherecreationofreaders.Becauseof 西南科技大学硕士研究生学位论文第26页theinterruptionoflanguagesandimagesinliteraryworks,text‟sblankandindeterminacyrequirereaderstoexperience,imagine,fillupandascertaintheunsaidpartbyhisexperienceandqualification(Fan69).Forexample,inChineseclassicalnovelDreamofRedMansions,beforethedeathofLinDaiyu,shesaidtoherlover,JiaBaoyu:“Baoyu,you,you,you...”Whatonearthshewantedtosay?“Baoyu,youdolivehappily”or“Baoyu,youaresoheartless”?Thisprovidesthereaderwithblankandindeterminacy,andappealsreaderstogapthebridgewiththeirimagination.3.2.4ImpliedreaderInordertomaketext‟sappealingstructureworkonreaders,WalfgongIserhadtoresearchdeeplyonreadersintheperspectiveofphenomenology.Asaresult,hesucceededbuildingaphenomenologicalreaderstructure,namelythefamous“impliedreader”.Iserdidnotexplaintoomuchforphenomenologicalreader,andfollowingmaybethemostcompletedefinitionofimpliedreader:“Ifweintentionallywanttoknowabouttheeffectofliteraryworks,wemustnotdefinereaderorhistorybackground.Apropernouncannotbeusedtodescribeittemporarily,let‟sjustcallitimpliedreader.Impliedreadercontainsalltheregulationsneededbyaliteraryworktorealizeitseffect.Asaconcept,impliedreaderisdeeplyrootedinthestructureoftext;impliedreaderisasortofstructure,whichdiffersfromanyrealreader”(Iser,“TheActofReading”43).Impliedreaderisnotthetrulyrealisticreader,notidealreader,butareaderwhomayprobablyappearandisconsistentwiththeimplieddirectionofthetextstructure,namelyareaderthatrestrainedbytextstructure.However,impliedreaderisnotjustdeterminedbytextstructure,italsocontainsreader‟sinitialrecreationandhisorherinvolvementinandrealizationofthesignificanceofwork.Therefore,impliedreaderisofvariouspossibilitiestorealizethepotentialsignificanceofthetext.Inaword,Iserillustratedthedynamicandcommunicativestructurecharacteristicsofliterarytextfrom 西南科技大学硕士研究生学位论文第27页bipolarrelationshipbetweentextandreader.3.2.5Translator’screativityandsubjectivityReceptionAestheticshasgreatinfluencesonliterarycircle,anditalsoofferguidanceforliterarytranslationresearch.OnceReceptionAestheticsisimpliedinthetranslationofliterature,bothtranslator‟sstatusandtargetreaders‟statusneedtobetakenintoconsideration.Itisknownthattranslationisaculturalactivityduringwhichtranslatorstransmitinformationbetweensymbolicsystemsofdifferentrules.TranslationprocessisshowninTable3.1(JiangandWen176):Table3TranslationProcess←←→→WriterSourcetextTranslatorTargettextReaderrFromtheflowchartoftranslationprocess,itcanbeseenthattranslationisanactivityfromtranslatortowriterandthentotargetreader.Writerofsourcetextisgiverofinformation,readeristhereceiverofinformation,andtranslatorisatransmitterwhotakestranslatedtextasacarrier.Translatorsneedtobeloyaltothewriterandhavetoservethereader.AftertheapplicationofReceptionAestheticsinthetranslationofliterature,translatorwillhaveadialoguewiththeauthorofthesourcetext.Inaddition,sourcetext‟slargeamountsofblanksandspotsofindeterminacycanevoketranslator‟shorizonofexpectationsandtranslatorwilleventuallyformhorizonfusionwithoriginaltext.Inthisprocess,conventionalopinionthatliterarytextisjustthewritingofauthorandreaderisresponsiblefortheexplanationofunlimitedmeaningsofthesourcetextbecomesvulnerable.Thatistosay,inactiveexplanationofthesourcetextwillturnintoactiveconversationamongauthor,translatorandreader.Inthisdialogueamongauthor,translatorandreader,thetranslator‟ssubjectivestatuscanbeverified.Translator‟s 西南科技大学硕士研究生学位论文第28页relationshipwiththeoriginaltextwillbediscussedasfollow.Duringtranslationprocess,ontheonehand,translatorisinitiallyareaderoftheoriginaltext.So,duringthetranslation,aestheticstheorywillbeadoptedbytranslator.Becauseatthetimetranslatorreadtheoriginaltext,hisorherhorizonofexpectationswillreifynumerousblanksandindeterminacyofsourcetextandrecreateanothertextdifferingfromtheoriginalone.Itisknowntoallthatbythedialoguebetweentranslatorandthesourcetext,translatorhashisorherownunderstandingoftheoriginaltext.Thustheoriginaltextreadbytranslatorisactuallynottherealoriginaltextofthewriter.Thenaftertranslator‟sinterpretationofthesourcetext,hewillbuildabridgeconnectingthewriterandthereaderbyhishorizonfusionwithoriginaltext,whichembodiesthecreativityofthetranslatorOntheotherhand,translatorisaselectorofthesourcetext.Translatorsindifferenttimeshavetheirowntranslationpreferenceforthesakeofintroducingadvancedscienceandtechnology,conveyingspirits,enlighteningthethoughtsofpeopleinhisorhercountry...Buttheconditionfortranslator‟stranslationchoiceishisorhertargetreader.Inordertomakehisorhertranslationspublicizeorspread,properandrightaudienceisveryimportantforthem.Translatorshavetohaveathoroughunderstandingoftargetreader‟srequirementsorneedsandknowabouttheirestheticpsychology.Onlyhisorhertranslationsareacceptedbyreaderscanhisorhertranslationsmakeinfluencesandbesuccessfulones.InChina,lotsoftranslatorstranslatedworksundertheguidanceoftheirprinciplestosatisfythereader‟stastesorneeds.Forinstance,YanFufollowed“faithfulness,expressivenessandelegance”andhisprincipleishighlyappreciatedbysubsequenttranslators.WhenChinawasoccupiedbyforeigncountriesinrecenthistory,manyofficialsoftheQingDynastylikeLiHongzhang,ZengGuopan,andZhangZhidongput 西南科技大学硕士研究生学位论文第29页forwardthefamoussaying“traditionalChinesevaluesaidedwithmodernWesternscienceandtechnology”(Chen72).Translatorsindifferenttimeshavetheirowntranslationpreferenceandtranslationguideline,whichprovesthecreativityandsubjectivityoftranslatorduringtheprocessoftranslation.Inconclusion,ReceptionAestheticsoffersscholarsorresearchersnewperspectiveforliterarytranslationstudy,inparticularforthetranslationofChineseclassicalpoetry.Translator,areaderofsourcetext,isadynamicsubjectwhoselectsreadingtextsaccordingtohispreferenceandunderstandsthecontentsoftheoriginaltextundertheinfluenceofhishorizonofexpectationsandfinallyconveysthemtotargetreader.Fromtheaboveanalysis,itcanbeseenthatliterarytranslationcontainstwopartsofcommunication:communicationbetweentranslatorandwriterandcommunicationbetweentranslatorandtargetreader.UndertheguidanceofReceptionAesthetics,translatorcanhandlehisrelationshipwithauthorsandtargetreaders. 西南科技大学硕士研究生学位论文第30页ChapterFourANEMPIRICALSTUDY:APPLICATIONOFRECEPTIONAESTHETICSINTHETRANSLATIONOFWANGWEI’SPOEMSThemotivationofcarryingoutthisempiricalresearchstartsfromtheauthor‟ssuccessfulapplicationofPostgraduateInnovationFundProjectbySWUST.ThenamendoftheprojectisResearchontheEnglishTranslationofWangWei‟sPoemsin2AmericanChinesePoetrySurge.Inthisresearch,theoryofReceptionAestheticsisadoptedtoanalyzethetranslationfeaturesofAmericansinologistsorscholarsandtheaestheticrepresentationofChineseclassicalpoetry.TherearealargenumberoftranslationversionsofWangWei‟spoemsintheUnitedStates,butitisunknownthatwhichtranslationstyleorformismuchmorepopular.Onthebasisofresearchresultsorachievements,theauthordecidestomakeanempiricalstudyonitandexpectstogetsomeusefulinformationforthetranslationofChineseclassicalpoetryathomeandprovidesreferencefordomestictranslatorsorscholarswhoareconducivetothespreadofChineseclassicalliteratureandChineseculture.Duringtheprocessofthisempiricalstudy,85peopletookpartintheonlineChinesequestionnaireresearch.And30copiesofEnglishquestionnaireswerereleasedbytheauthor,butonly22English-speakingpersonsgavetheirrespondents.Amongthe22personsattendingthestudy,13respondentscompletedthequestionnairethoroughly,whiletheothersleftthesubjectivequestionsrelatingtothethemeofthepoemblank. 西南科技大学硕士研究生学位论文第31页Meanwhile,the22English-speakingpersonsincluded4ChinesepeoplewhohavestudiedinAmericaforatleast3years.InviewingofthesmallnumberofEnglish-speakingrespondents,theentireEnglishquestionnairescollectedareconsideredeffective.Followingcontentsrecordthedetailedprocessandinformationofthisempiricalstudy.4.1ResearchObjective:Readers’AcceptationandEvaluationofDifferentTranslationVersionsTohaveadeeperandbetterunderstandingofthereaders‟acceptabilityoftheEnglishtranslationversionsofWangWei‟spoems,anempiricalstudylastingaboutoneyearwascarriedout.Thisempiricalstudymainlyfocusesonreaders‟preferenceofdifferenttranslationversionsofthesamepoetofWangWeiindifferentculturalbackgroundandtriestofindoutthereasonsthatcausethedifference.theauthorwanttomakeaconclusionafteranalyzinganddiscussingtheresearchresults,andprovidereferencesforscholars,researchers,translatorsorstudentswholovetheEnglishtranslationofChinesepoetry,especiallyChineseclassicalpoems.4.2ResearchObjects4.2.1ChoicebasisfortranslationversionsChinaistheparadiseofpoetry.Therearenumerousgreatmastersofpoemnotonlyintheancienttimesbutinpresentdays.ThereasonswhythisthesischoosesWangWei‟slandscapepastoralpoemsascomparisonobjectsofdifferenttranslationversionsareasfollows.Firstofall,WangWeiisrenownedfor“Buddhaofpoetry”.TheTangDynasty(713-763)isthegoldeneraforthedevelopmentofChineseclassicalpoems,whilepoemscreatedintheHighTang(713-763)arethetopofpoemcreationintheTangDynasty.Duringthisperiod,DuFuandLiBaiaretwosummits,andWangWeiisone 西南科技大学硕士研究生学位论文第32页ofthefewpoetswhocankeepabreastwiththem.ExplanationoftheTangPoetrybyEr’anrespectfullycalledWangWeitheEmperorofPoetry(S.H.Wang16).WangWeiisalsothegeniusoftheman‟sworld(itissaidthatLiBaiisthegeniusofheaven,DuFuthetalentoftheearth,whileWangWeithegeniusoftheman‟sworld)(D.C.Zhao116).Secondly,WangWeiepitomizesthelandscapepastoralpoetry.LandscapepastoralpoetryisamiracleofChineseclassicalpoems.WangWeiinheritsanddevelopsTaoYuanmingandXieLingyun‟spastoralpoetryandpromotesthedevelopmentoflandscapepastoralpoemstoahigherlevel.WangWeiisalsofamousforhisscenerypoems,andhisscenerypoemsaremodelsofscenerypoetrypoetsinlaterages,whichhaveafar-reachinginfluenceonthegrowthofChineselandscapeorscenerypoetry.Asamatteroffact,landscapepastoralpoetryistheconcentratedexpressionofChineseaestheticstosomeextent.WangWei‟sgreatestcontributiontopoetryaestheticsliesinthecreationofartisticconception,whilethematureofartisticconceptionliftsChineseclassicalpoemstothelevelofartisticphilosophy.Third,WangWeiisadeptatdrawingandmusic,soheisanall-rounder.Alltheseareshowninhispoems.PoemsofWangWeiarelikevividscenerypaintingsandarefullofsoundbeauty,whichreflectstheuniqueartisticcharmandhighaestheticvalue.Lastbutnottheleast,WangWeisincerelybelievesinBuddhismandisproficientinBuddhist.Wang‟spoemsarefullofdeepmeditation,whichmakesgreatimpactontheconnectionbetweenBuddhistandpoetryandenrichesthecreationthemesofpoemsofWangWei.WangWei‟spoems,especiallyhislandscapepastoralpoemsareofuniqueartisticcharmandestheticvalue,thushispoemsarepopularwithreadersathomeandabroad.Moreover,thenumberofEnglishtranslationversionsofWangWeiisthelargestamong 西南科技大学硕士研究生学位论文第33页thatofotherpoetsintheTangDynasty(J.J.Zhang13).Thus,itcanbeundoubtedlysaidthatWangWeiepitomizesChineseclassicalpoems.IntensifiedresearchesontheEnglishtranslationofhispoemscannotonlyhelpusknowaboutthelawofpoetrytranslation,butalsoprovidereferencetothepracticeoftheEnglishtranslationofWangWei‟spoems,makingWang‟spoemskeeporiginalspiritsandcharacteristicswhentravelingabroad.4.2.2ChoicescopefortranslationversionsTheauthorpicksoutsixEnglishtranslationversionsofWangWei‟sLuzhai,amongwhichtherearetwotranslationversionsrespectivelytranslatedbyforeigntranslatorsKennethRexrothandBurtonWatson,twoco-translationversions(oneistranslatedbyethnicChineseChangYin-nanandforeignscholarLewisC.Walmsley,theotheristranslatedbydomestictranslatorsZhangTingchenandWeiBosi),oneversiontranslatedbyXuYuanchong,andthelastonetranslatedbyChineseAmericanJamesJ.Y.Liu.ThereasonwhyLuzhaiischosenasresearchprojectisthatitistherepresentativeofWangWei‟slandscapepastoralpoemsandisofgreatestheticvalue,whichcanperfectlyinteractwiththetheoreticalframeworkofthethesis.What‟smore,thenumberofitsEnglishtranslationversionsisthelargestcomparingwiththeotherpoemsofWangWei.Correspondingly,theresultoftheresearchismuchmorepersuasiveandtypical.4.2.3AnalysisoforiginalpoemLuzhaiLuzhaiderivesfromWangWei‟slandscapepoetrycollectionWangchuanAnthologyanditiscreatedduringWang‟striptoLuzhai,aplaceofWangchuanCounty.Luzhaiisapoemoffourfive-characterlinesnamedafterthenameofaplace.Theoriginalpoemisasfollow：空山不见人， 西南科技大学硕士研究生学位论文第34页但闻人语响。返景入深林，复照青苔上。Mr.XuYuanchong‟s“Three-BeautyTheory”isadoptedtoanalyzethecharmoforiginalpoem.Three-Beautymeansbeautyofartisticconception,beautyofsound,beautyofform.Mr.Xubelievesthattherelationshipbetween“Three-Beauty”isasfollow:Beautyofartisticconceptionisthemostimportant,andbeautyofsoundissecondary,whilebeautyofformthebottom.Thoughbeautyofartisticconceptionisthemostimportant,itcannotberealizedwithouttheassistofbeautyofsoundandform(39).4.2.3.1BeautyofsoundBecauseChineseisakindoftonelanguage,thefourtonesofChineseconstitutethecadenceofpronunciation,formingmusicfeatures.(Mao191)“Chineshasfourtones,butmodernstylepoetry,referringtoinnovationsinclassicalpoetryduringtheTangDynasty(618AD--907AD),markedbystricttonalpatternsandrhymeschemes,needn‟ttodistinguishthefourtoneslikeCipoetry(atypeofclassicalChinesepoetry,originatingintheTangDynastyandfullydevelopedintheSongDynasty)andQupoetry(atypeofversepopularintheYuanDynasty)anditjustrequirestobeclassifiedroughlyintolevelandobliquetones.Tokeepthecadenceofpronunciation,itrequiresalternativeuseofleveltoneandobliquetone”.Asapoemoffourfive-characterlines,sentencepatternofLuzhai‟sleveltoneandobliquetoneisasfollows:levellevelobliqueobliquelevel,obliquelevellevelobliqueoblique.obliqueobliqueobliquelevellevel,obliqueobliquelevelleveloblique.Fromaboverhymescheme,itcanbeseenthatrhymeofLuzhaiisoblique,andthe 西南科技大学硕士研究生学位论文第35页lastwordsoflinetwoandlinefourarerespectively“Xiang”and“Shang”,rhymeofwhichis“ang”.Besides,Chinesewordscanbemadeupoftwoorthreecharacters,andsentenceofpoemsoffourfive-characterlinesusuallyconstituteswordsof“twoorthreecharacters”.Forexample,thefirstsentenceofthepoemconsistsoftwowords“空山”and“不见人”.Itisbecausesuchcharacteristics,ashortpauseemergesnaturallywhenreadingfromwordstowords,constitutetheuniquerhymeofChineseclassicalpoems.TherhymeofLuzhai‟screatesaneffectofmusic,andmakesthepoemcatchyandrhythmical.4.2.3.2Beautyofform“Chinesecharacterisideographicwriting.Chineselanguageandcharactersareeasytoarousespecificimage,soEnglishandotheralphabeticwritingsareabsentfromsuchestheticvalue.YangXiong,afamousscholaroftheHanDynasty,oncesaid:„Wordsaremouthofminds,whilewritingsmirrorofthoughts‟(言，心声也；文，心画也。).Chinesecharacterisreflectionofbroad,gracefulandabundantmind.”(Mao190)Thebasicelementconstitutingapoem--Chinesecharacter--ispicturesqueitself,anditispictographicandabstract.Thebeautyofideographicwritings,however,comesfromimageatfirst.Therefore,whenreadingthetextofapoemmadeupofChinesecharacters,readerswillgraduallyformprettypicturesaboutoriginalpoemsintheirmindsaccordingtothebasicstructureprinciple--pictographs,andthisformbeautyispeculiartoChineseclassicalpoems,whichissuperiortopoemsofothercountries.Forinstance,空山不见人，但闻人语响。Watchingthetwolinesofpoems,especiallyitscomplicatedversion(空山不見人，但聞人語響),pictographsandverbslike“空山”,“人”,“聞”and“人語響”canvividlyrepresentthespiritandartisticconceptionofthispoem.Whenthetwolinesof 西南科技大学硕士研究生学位论文第36页poemsareshowninformofcalligraphy,itcanofferreadersmoreaestheticfeelingsandenjoyments.Inaddition,therearefourlinesinthispoemandeachlineinvolvesfivecharacters,andthesentencepatternisantithetic,showingthestructuredbeautyofverses.ThoughthewordsusedinLuzhaiareconcise,whichdonotaffectWangWei‟stransferenceofhismindsandfeelings(Y.H.XuandZ.Q.Liao78).4.2.3.3Beautyofartisticconception“Theelementaryconstitutionofartisticconception(意境)liesinafusionoffeelingswiththenaturalsetting.Itisimpliedintwoaspects:objectivereflectionoflivingimagesandsubjectivecreationofwriter‟semotionideal.Theformernames„setting‟,namely‘境’inChinese,andthelatter„spirit‟,namely‘意’inChinese.Thetwoaspectsinteractandunifiedtoformartisticconception.”(Zhaoetal.640)OriginalpoemofLuzhaishowbeautyofsettinginfollowingways.Fourimagesappearinthepoem:“emptymountain”(空山),“deepforest”(深林),“latesunlight”(斜晖)and“greenmoss”(青苔).Bythem,itcanbeknownthatWangWeiwasinquietanddeepmountainswithoutvisitors.Thefirsttwosentencestartfromperspectiveofauditorysense,tostresssilencewithsoundandtoreflectstabilitywithmovement.“空山”inthefirstlineemphasizesthedesertion,emptyandinhabitantofthemountain,while“不见人”makesaspecificshowofsuch“空”.“但闻人语响”describesadeepforestsettingwherevisitorsarenotinsightbuttheirvoicesareheard.Becausethemountainisrelativeempty,anylittlevoicescanbeheardclearly,andvoicesinthisenvironmentsoundevenlouder.Thelasttwosentencerecordinhearingsense,tohighlightdimwithglimmer.SunlightgraduallyfadesatduskandWangWeiisinthedeepforest.Theenvironmentisalreadydark,andgreenmossesgrowhere,reflectingthedarkanddampoftheenvironment.Atthismoment,latesunlight,passingthroughthedeepforest,shinesonthegreenmossesunderthetree,makingpeoplefeelwarm. 西南科技大学硕士研究生学位论文第37页Glimmerinthedeepforesthighlightedthegloomanddampofthesetting.Byapoemoffourfive-characterlines,WangWeisuccessfullyrepresentedthebeautifulsceneryandartisticconceptiontoreaders,makingreadersfeelimmersiveafterreadingthepoem.ThebeautyofspiritWangWeitriedtoconveyisasfollows.Asisknowntoall,LuzhaiwascreatedduringWang‟sseclusioninWangchuanCounty.Atthattime,hewasabsorbedinChanorZenBuddhism.ChanBuddhismstrivesforempty,silence,quietanddepth.ThusWangWeiportrayedthisrealmwithpoems,makingpoeticsandChanspiritintegrated.Furthermore,emptymountain(空山)hasbecomethespotlightofresearchesonWangWei‟sChanorZenBuddhismbyscholarsathomeandabroad,andLuzhaiiscalled“theemptymountainpoem”inforeigncountries.AsJeromeP.Seatonsaid,“DeerPark”isknownfamiliarlyamongitsthousandsofEnglish-speakingadmirersas“theemptymountainpoem”(126).PeacefulnessandrelaxationofmindistheartisticpursuingoftheChansect.Theemptyandsilentimagepresentedinthispoem“makepeoplekeepinpeacefulandusualmind,freelyexperiencetheworldfarawayfromsecularlife,forgetprosperousmateriallife,abandonallcomplicatedthoughtsandgoinforclearanddeepsettings,whichisdreamy,foggyandsmoky.Thisstateofmindisconducivetopursueofaloofandpurelife”(Guan123).4.3ResearchQuestionsandHypothesisAsismentionedintheintroductionpart,researchesontranslationofdomesticclassicalpoemsinthelast20yearsof20thcenturycanberoughlydividedintothefollowingthreeaspects:A.ThediscussionofmetricalstyleorprosyversebasedonXuYuanchong‟s“ThreeBeautyTheory”.B.Effectsofintroductionoftranslationsubjectonthediversifiedinterpretationofclassicalpoetry.C.Thediscussionabouttheidentityoftranslators(Cong9). 西南科技大学硕士研究生学位论文第38页Forthefirstquestion,EnglishsinologistWaleysaidinearly20thcenturythatpoemstranslationpayingattentiontorhymewilldefinitelyloseitsspirit.ThushetranslatedTangpoetryintofreeverseorprosyverse.Similarly,ChinesescholarWengXianliangadvocatesthatTangpoetryshouldbetranslatedintoprosyorfreeverse.Ononehand,hesaidthatthetranslationofChineseclassicalpoemsshouldmaintainthesentimentoftraditionalChinesecultureandthecharacteristicsofChineseclassicalpoetrywillbelostiftranslatorsimitatewesternstylecompletely.Ontheotherhand,hearguedthatifthestyleoftranslationversionsisthesamewithoriginalversion,thespiritofChineseclassicalpoemsmustbechanged;andthequalityorexpressivefeaturesofChineseclassicalpoetrycanonlybekeptbytreasuringspiritandneglectingform.XuYuanchongrevealedtherelationshipamong“ThreeBeauty”:Imagebeautyisonthefirstplace,thensoundbeautyorgoodnessinsound,andformbeautythelast.Thoughimagebeautyisthemostimportant,itcannotworkwithoutthehelpofsoundbeautyandformbeauty(39).Theintroductiontotranslationsubjectmakesscholarsrealizetheimportanceofsubjectintranslationandithighlightssubject‟sprerequisitepositionintranslation.Asthesubjectsofpoetrytranslation,translatorsareinterpretersofpoemsatthesametime.LiuHuawenpointedthatthetranslationsubjectsofChinesepoemshavetwokindsofthinkingmode:conceptthinkingandempiricalthinking.Thatmeansdifferenttranslatorswilladoptdifferentwaysofthinkingaccordingtotheirtranslationpurpose.Forthethirdquestion,itisgenerallybelievedthatEnglishtranslationworkofChinesepoemscannotonlybedonewellbywesternsinologist,butbyChinesescholars.BecauseChinesescholarcan“readChinesepoemsinChinesewaysofthinking”(Cong14).ItseemsthatthebackgroundoftheEnglishtranslationofChinesepoemsandthe 西南科技大学硕士研究生学位论文第39页discussionofstylechoiceandtranslator‟sidentitymentionedaboveperfectlyanswerthedoubt“theidentityoftranslator”and“theaimoftranslation”.Butbesidestranslator‟sownbenefits,theaimoftranslationalsoincludesreader.Translatorsshowtheirtalentsbytranslating;thisistherealizationofindividual,whilereaders‟acceptationofthetranslationandpromotionofthespreadofChineseculturearepursuingofthecollective.Onlythetranslationversionacceptedbyreaderscanbecalledasuccessfulone.ThatisthereasonwhyReceptionAestheticsischosenastheresearchperspective.Followinghypothesisismadeaccordingtodiscussionsabove:Onthebasisofshowingtheartisticconceptionoforiginalpoems,theacceptabilityoftranslationsadoptingrhymestyleishigherthantranslationsusingprosystyle;domestictranslators‟translationsofChineseclassicalpoemsaremuchmorepopularwithreadersthantranslationsofWesternsinologists.ThishypothesisisofcoursebasedontheoreticalachievementsaboutdiscussionsofEnglishtranslationbyscholarsandexpertsathomeandabroad,oronconclusionsgainedfromcomparativeanalysisofdifferenttranslationsofspecificChineseclassicalpoem.FewscholarsdirectlyresearchonEnglish-speakingreaders‟acceptabilityofdifferenttranslationsofthesamepoeminChinaandothercountries.BasedontheabovehypothesisandguidedbyReceptionAesthetics,thisstudyresearchesonpotentialreaders‟acceptabilityofdifferenttranslationsofthesamepoembyreleasingandcollectingonlineChineseversionofquestionnaire(seeAppendixB)andpaperEnglishversionofquestionnaire(seeAppendixC),inordertoprovidedatasupportforthechoiceofEnglishtranslationstrategiesofChineseclassicalpoems.4.4EmpiricalResearchProcess4.4.1StudydesignThisempiricalresearchisdoneviawebandpaperquestionnairesaimingatfinding 西南科技大学硕士研究生学位论文第40页readers‟responsetodifferentEnglishversionsofthesamepoem,inordertoprovidedatasupportforthestrategieschoicewhentranslatingChineseClassicalPoems.ChineseandEnglishversionsofthequestionnaireweredesigned,andeachversionismadeupofthefollowingtwoparts:backgroundinformationoftherespondentsandtheirevaluationtodifferenttranslationversions.4.4.1.1ChinesequestionnairedesignIndividualbackgroundinformationiscomposedofthefollowingobjectiveparts:gender,age,nationality,educationbackground,occupation,major,yearoflearningEnglish,whetherlikingTangPoems,thepoetintheTangDynastytheyknow,ifeverhearingorknowingaboutWangWeiandtheirimpressiontoWang‟sLuzhai.Thisparthelpstheauthortohaveabetterunderstandingoftheacademicbackgroundoftherespondentsanditseffectontheresultoftheresearch.TheevaluationpartofdifferentEnglishtranslationversionsofferstheoriginalpoemofLuzhai,andmakesnotestothetitleandthecreativebackgroundofthepoemtohelpreadershaveacompleteunderstandingofit.Inthispart,asubjectiveandopenquestionabouttheirfirstimpressionofthepoemafterreadingitissettled.Thisquestionhelpstofullyunderstandthereaders‟acceptabilityofthespiritoforiginalpoem.Thensixtranslationversionsofthesamepoemisofferedtothereadertochoosetheirfavoritetranslationversion(theycanchooseonlyoneversion)andgivetheirreasonsforchoosing(morethanoneanswercanbechosen).Inordertohaveacomprehensiveunderstandingoftheacceptabilityoftranslationversionsinfluencedbytranslator‟sidentity,sixtranslationversionstranslatedbytranslatorswithdifferentidentitiesindifferentperiodsarechosen.However,tomakesuretheobjectivityofthereader‟sresponse,translators‟identitiesandthetimeoftranslationarenotshowntothereader. 西南科技大学硕士研究生学位论文第41页Thetimeofthesetranslationsisdifferent,soisthetranslator‟sidentity.Version1wastranslatedbyChineseAmericanChangYin-nanandnativeAmericantranslatorLewisC.Walmsleyin1958;version2wastranslatedbyJamesJ.Y.Liuin1962;translatorsofversion3andversion4areallnativeAmerican,buttheiridentitiesaredifferent.Translatorofversion3isKennethRexroth,whocannotreadandwriteinChineseandisjustapuresinologist.Furthermore,thestyleoftranslationversion3adoptedprosytranslation,resemblingtheleastthestyleofChineseclassicalpoems.Translatoroftranslationversion4isthefamoussinologistandtranslatorofAmericaBurtonWatson,whoisnotonlyproficientinChinesebutalsoadeptinpoemwriting.Inaddition,version3wastranslatedin1970andversion4wastranslatedin1971.Translatorsofversion5andversion6comefromChina.Version5wastranslatedbydomestictranslationmasterMr.XuYuanchongin1988.Version6wastranslatedbyZhangTingchenandWeiBosiin2007.Themaindifferencebetweenversion5andversion6liesinthetranslationstyle.Version5translatedbyXuYuanchongpaidattentiontorhymeandmetre,whileversion6adoptedprosystyletotranslateChineseclassicalpoem.4.4.1.2EnglishquestionnairedesignBesidesrespondents‟individualinformationlikegender,age,nationality,educationbackground,occupationandmajorinChinesequestionnaire,theEnglishversionofthequestionnairealsoincludesquestionslikewhetherlearningChineseornot,yearsoflearningChinese,whetherlovingpoetryornot,ifeverhearingofT‟angpoetry(ifnotgoestoparttwo),hearingofwhichpoetofthefollowinggivensixpoetsintheTangDynasty(theycanchoosemorethanoneanswer).Thesesupplementaryquestionshelptosurveyiftherespondents‟ChinesebackgroundorknowingofChinesecultureaffectstheirchoiceoffavoritetranslationversions.Thesixtranslationversionsinpart 西南科技大学硕士研究生学位论文第42页twoofboththeChineseandEnglishquestionnaires,namelyEvaluationoftranslationversionsofthesameChineseT‟angpoem,arethesame.Nevertheless,twosubjectivequestionsareaddedinparttwooftheEnglishquestionnaire:oneistodescribetheirimpressionwithnomorethantenwordsafterreadingdifferenttranslationversions;theotheristheirevaluationofthewordsorexpressionsusedintheseversionsintwoorthreewords.Thetwosubjectivequestionsaimtosurveyifthereadershavegraspedthespiritandmoodoftheoriginalpoembythetranslationversionsandtoseeiftheirevaluationsarecoordinatedwiththeirchoicesofthefavoritetranslationversionandreasonsofthechoice.Tomakeyouhaveadirectcomparisonbetweentheoriginalpoemanditstranslatedtexts,originalpoemanditssixtranslationversionswithcompletetranslatorinformationandtranslationtimearelistedasfollows.OriginalPoem:鹿柴空山不见人，但闻人语响。返景入深林，复照青苔上。Version1:DeerForestHermitageThroughthedeepwood,theslantingsunlightCastsmotleypatternsonthejade-greenmosses.Noglimpseofmaninthislonelymountain,Yetfaintvoicesdriftontheair.(ChangYin-nan&LewisC.Walmsley,1958) 西南科技大学硕士研究生学位论文第43页Version2:Ontheemptymountainsnoonecanbeseen,Buthumanvoicesareheardtoresound.ThereflectedsunlightpiercesthedeepforestAndfallsagainuponthemossyground.(JamesJ.Y.Liu,1962)Version3:DeepintheMountainWildernessDeepinthemountainwildernessWherenobodyevercomesOnlyonceinagreatwhileSomethinglikethesoundofafaroffvoice.ThelowraysofthesunSlipthroughthedarkforest,Andgleamagainontheshadowymoss.(KennethRexroth,1970）Version4:DeerFenceEmptyhills,nooneinsight,onlythesoundofsomeonetalking;latesunlightentersthedeepwood,shiningoverthegreenmossagain.(BurtonWatson,1971)Version5:Iseenooneinmountainsdeep 西南科技大学硕士研究生学位论文第44页Buthearavoiceintheravine.ThroughthedensewoodthesunbeamspeepAndarereflectedonmossesgreen.(XuYuanzhong,1988)Version6:TheDeerEnclosureRemotethemountain,wherenooneisseen,Thoughhumanvoicesresound.Atdusk,reflectedsunlightenterstheforestdeep,Onceagainsettingthegreenmossaglow.(ZhangTingchen&WeiBosi,2007)4.4.2QuestionnairereleasingInordertodefinewhichkindofstyle--prosyverseorrhymeverse,andwherethetranslatorscomefromcanpromotetheacceptabilityoftranslations,aChinesequestionnaireoncomparisonoftranslationversionsofWangWei‟sLuzhaiwasreleasedonwww.Sojump.comduringthetimefromDec.20,2013toFeb.24,2014.EnglishversionofquestionnaireswerereleasedinAmericaduringthesummervacationin2014withthehelpofmysupervisorLiaoZhiqinandreleasedtoEnglish-speakingChineselearnersinChengduCity,SichuanProvincewiththehelpofmyfriendandclassmate.4.4.3DatagatheringandresearchanalysisAftertwomonths‟inquiry,thedataoftheonlinequestionnairewascollected.ButowingtothedifficultpracticeandlongresearchtermofEnglishversionofquestionnaire,theresearchtimeofEnglishversionofquestionnairewasprolongedtoDec.12,2014.Duringtheresearchterm,thereare85peopleattendingtheonlineresearchofChineseversionofquestionnaireand22personstakingpartintheEnglish 西南科技大学硕士研究生学位论文第45页versionofquestionnaire.4.4.3.1BackgroundofrespondentsThereare24malesand61femalesinthe85respondentsattendingtheChineseversionofquestionnaire;intermsofage,11personsarelessthan20yearsold,69respondentsarebetweenageof20and29,fourpersonsarebetweenageof30and39,andonepersonchoosestokeephisorheragesecret;83respondentscomefromChinamainlandandonlytwopeoplearefromothercountriesanddistricts;astoeducationbackground,onepersonhasgothisdoctordegree,21peoplegainmasterdegree,52peoplebachelordegreeand11personshavenotgotadegreeyet.Asforrespondents‟occupation,thereare30undergraduates,25postgraduates,fourcollegeEnglishteachers,24peopleengaginginotherworkandtworespondentsleavingitblank.Whencollectingthedata,theauthorfoundthatthereexistcontradictionsbetweenthedataofrespondents‟educationbackgroundandthedataofrespondents‟occupationinformation:25mastercandidatesactuallyhaven‟tgottheirmasterdegree,whileintheobjectivequestionoftheireducationbackground,thereare21peoplechoosingtheoptionofMasterDegree.Thereasonswhythishappenslieinrespondents‟misunderstandingofknowledgeofdegreegrantingontheonehand,andmainlylieintheauthor‟smistakeinforgettingtoremindtherespondentsofitinthequestionnaireontheotherhand.It‟samissofthisresearch.Butgenerallyspeaking,thismistakedoesnotaffecttheresultofthecrossanalysisofeducationbackground‟sinfluenceonthechoiceoffavoritetranslationversioninTable4.11.Becausemostbachelordegreecandidatesthinktheyhaveacquiredtheirdegreeandsimilarly,masterdegreecandidatesalsothinktheyhavegottheirmasterdegree.Inaddition,amongthe85respondents,thereare57people‟smajorsareEnglishrelated,onepersonmajorsinTeachingChineseasForeignLanguage(TCFL)and25______________________________________________________________________________________________ 西南科技大学硕士研究生学位论文第46页peopleareothermajors.AsfortheirtimespendinginEnglishlearning,fourpeopleindicatethattheyhavelearnedEnglishforover20years,8people15-19years,andthenumberofrespondentswhohavelearnedEnglishfor10-14yearsisthelargest,totally56people,andthereare17peoplewhohavelearnedEnglishforlessthannineyears.64personsofthe85respondentsexpresstheirlovetothepoetryoftheTangDynasty,18peoplesaynoyetandtherearethreepeopleremainneutral.EightytworespondentshaveheardofWangWei,theproportionofitreachesupto96.47%.Thereare58respondentssayingthattheyhaveimpressiononWangWei‟sLuzhai,25peoplesayingnoandtwopersonsleavingitblank.Table4.1Respondents‟BackgroundInformationofChineseVersionofQuestionnaireBackgroundNumberofRespondentsProportionInformationGenderMale2428.24%Female6171.76%Age<201112.94%20-296981.18%30-3944.71%≥4000%NoneSelected11.18%NationalityU.S.00%U.K.00%China8397.65%Othercountries22.35%EducationbackgroundDoctor‟sdegree11.18%Master‟sdegree2124.71%Bachelor‟sdegree5261.18%Nodegreeyet1112.94%Occupation______________________________________________________________________________________________ 西南科技大学硕士研究生学位论文第47页Undergraduate3035.29%Postgraduate2529.41%Englishteacher44.71%Otheroccupation2428.24%Noneselected22.35%MajorEnglishrelated5767.06%TCFL11.18%Chinese00%Othermajors2529.41%YearsoflearningEnglish≥2044.71%15-1989.41%10-145665.88%≤91720%LikingpoetryoftheTangDynastyornotYes6475.29%No1821.18%Noneselected33.53%HearingofWangWeiornotYes8296.47%No11.18%Noneselected22.35%HavingimpressiononWangWei‟sLuzhaiornotYes5868.24%No2529.41%Noneselected22.35%Asismentionedabove,amongthe22personsattendingtheEnglishquestionnairestudy,13respondentscompletethequestionnairethoroughly,whiletheothersleavethesubjectivequestionsrelatingtothethemeofthepoemblank.Accordingtotheanswersofthe13respondentstothesubjectivequestion“thefirstimpressionyougoutfromthepoemafterreadingit”,itcanbeinferredthattheyhavecaughtwhatWangWeiwanted______________________________________________________________________________________________ 西南科技大学硕士研究生学位论文第48页totransmitinthepoemLuzhai.Amongthe22peopleattendingtheEnglishversionofquestionnaireinall,thereare10maleand12female.Intermsofage,11respondentsarebetween20-29yearsold,sixpersons30-39yearsoldandfiverespondentsover40yearsold.Asfornationality,sevenpersonscomefromAmerica,sixpeoplecomefromtheUnitedKingdom,fourrespondentsareinternationalstudentsintheUnitedStateswhocomefromChinamainland,fourpersonscomefromothercountriesandonepersonleavesthisoptionblank.Astotheireducationbackground,onerespondenthasgotdoctordegree,sevenpersonshavegotmasterdegreeand13peoplehavegotbachelordegree,andonepersonhasnotacquiredanydegree.Intermsofoccupation,therearesixundergraduates,fivepostgraduates,oneEnglishteacherand10engaginginotherjob.Besides,amongthe22respondents,twopersonsareEnglish-relatedmajors,fourareTCFLmajorsand16areothermajors.EightrespondentssaytheyhavelearnedEnglishforover20years,12personschoose15-19years,andonlytwopeoplelearnEnglishforlessthan14years.ExceptfourrespondentsneverlearnChinese,theother18respondentsallsaytheyhavelearnedChinese.Amongthe18Chineselearners,eightguyshavelearneditforover10years,10personslearneditfor1-5years.Thereare13peoplelikingpoetry,andninesayno;ninerespondentshaveheardofthepoetryoftheTangDynastyandtheother13saytheyneverhearofthat.AmongtheninerespondentswhohaveimpressiononthepoetryoftheTangDynasty,allknowLiBaiandDuFu,eightpeoplehearofBaiJuyi,sevenrespondentshearofWangWeiand6personshearofSuDongpo,whileonlyonepersonhearofHanShan.SotheacceptabilityofWangWeibytheEnglish-speakingreaderswhoknowthepoetryoftheTangDynastyisrelativehigh.______________________________________________________________________________________________ 西南科技大学硕士研究生学位论文第49页Table4.2Respondents‟BackgroundInformationofEnglishVersionofQuestionnaireBackgroundInformationNumberofRespondentsProportionGenderMale1045.5%Female1254.5%Age<2000%20-291150%30-39627.3%≥40522.7%NationalityU.S.731.8%U.K.627.3%China418.2%Othercountries418.2%Noneselected14.5%EducationbackgroundDoctor‟sdegree14.5%Master‟sdegree731.8%Bachelor‟sdegree1359.2%Nodegreeyet14.5%OccupationUndergraduate627.3%Postgraduate522.7%Englishteacher14.5%Otheroccupation1045.5%MajorEnglishrelated29.1%TeachingChineseas418.2%foreignlanguageChinese00%Othermajors1672.7%YearsoflearningEnglish≥20836.4%15-191254.5%10-1429.1%≤900%______________________________________________________________________________________________ 西南科技大学硕士研究生学位论文第50页HavinglearnedChineseornotYes1881.8%No418.2%YearsoflearningChinese1-51045.5%6-1000%>10836.4%never418.1%LovingpoetryornotYes1317.7%No982.3%HearingofthepoetryoftheTangDynastyYes917.7%No1382.3%PoetsintheTangDynastyyouknowLiPo(李白)9100%TuFu(杜甫)9100%PxoChu-I(白居易)888.9%WangWei(王维)777.8%HanShan(寒山)111.1%SuTungpo(苏东坡)666.7%4.4.3.2ResearchanalysisTheresultofChineseversionofquestionnaireshowsthatVersion3isthemostpopularand23respondentschooseit,withaproportionof27.06%;Version4ranksthesecondplace,with22.35%ofthe85respondentsloveit.Version4isfollowedbyVersion6andVersion5translatedbyChinesescholars,whoseproportionsrespectivelyare15.29%and14.12%;acceptabilityofVersion1andVersion2isthelowest,andproportionsofthemare10.59%and8.24%.______________________________________________________________________________________________ 西南科技大学硕士研究生学位论文第51页Table4.3ResultoffavoritetranslationchoiceofChineseVersionofQuestionnaireTranslationAggregateProportionVersion1910.59%Version278.24%Version32327.06%Version41922.35%Version51214.12%Version61315.29%Noneselected22.35%Multiplereasonsareprovidedforrespondentstochoose.Options“betterreproductionofartisticconception”and“goodnessinrhythm”arethetoptwooptionschosebyrespondents,andthenumberoftheirsupportersarethesame,allaccountingfor43.53%ofthetotalrespondents.Theyarefollowedby“Goodnessinform”,“Goodnessinimage”,“Compactnessinwordschoice”and“befaithfultotheoriginal”,andproportionsofsupportersofthemare28.24%,28.24%,25.88%and25.88%respectively;supportersof“Goodnessinsound”accountfor16.47%,theproportionof“freestyle”is14.12%,thatof“translator‟screativesubjectivityinrewritingthepoem”is11.76%，supportersof“preciseworduse”accountfor10.59%andtheotherreasons8.24%.Table4.4ChoosingReasonsofChineseVersionofQuestionnaireTranslationAggregateProportionBefaithfultotheoriginal2225.88%Betterreproductionofartisticconception3743.53%Goodnessinsound1416.47%goodnessinrhythm3743.53%Goodnessinform2428.24%Goodnessinimage2428.24%Preciseworduse910.59%Compactnessinwordschoice2225.88%Freestyle1214.12%Translator’ssubjectiveinitiativein11.76%10rewritingthepoemotherreasons78.24%______________________________________________________________________________________________ 西南科技大学硕士研究生学位论文第52页ThetoptwopopulartranslationoftheChineseversionofquestionnairearetranslatedbywesterntranslatorswithChinesebackground,andthenareversionstranslatedbyChinesetranslators.However,theresultofEnglishversionofquestionnaireshowsthatVersion1isthemostpopularandninerespondentschooseit,withaproportionof40.91%;Version4ranksthesecondplace,with18.17%ofthe22respondentsloveit.Version4isfollowedbyVersion2,Version3andVersion5withthesamerespondents--threepersons--lovingthem;acceptabilityofVersion6isthelowest,andnobodychooseitashisorherfavoritetranslation.Table4.5ResultoffavoritetranslationchoiceofEnglishVersionofQuestionnaireTranslationAggregateProportionVersion1940.91%Version2313.64%Version3313.64%Version4418.17%Version5313.64%Version6000.00%Whenwereaskedthereasonwhytheychoosethatversionastheirfavorite,mostrespondentschose“betterreproductionofartisticconception”,whoseproportionis26.83%.Thenare“goodnessinrhythm”,“goodnessinform”,and“goodnessinimage”,whoseproportionarethesamewithsevenpeoplechoosingthemrespectively.“Goodnessinsound”ranksthefifthwithfivepersonschoosingit.“Befaithfultotheoriginal”and“appropriatenessandcompactnessinwordschoice”catchestheleast______________________________________________________________________________________________ 西南科技大学硕士研究生学位论文第53页attentionwithtworespondentschoosingthemrespectively.Table4.6ChoosingReasonsofEnglishVersionofQuestionnaireTranslationAggregateProportionBefaithfultotheoriginal24.88%Betterreproductionofartisticconception1126.83%Goodnessinsound512.20%Goodnessinrhythm717.07%Goodnessinform717.07%Goodnessinimage717.07%Appropriatenessandcompactnessin4.88%2wordschoiceSoitseemsthatthefollowingconclusioncanbedrawn:westernsinologistsaresuperiortoChinesetranslatorsintheEnglishtranslationofChineseclassicalpoemsbecauseoftheirtargetlanguageandcultureadvantage,andunderstandingofChinesecultureandthethoughtsofEnglish-speakingreaders.ButChinesetranslatorshavethemomentumofcatchingupwithwesternsinologistsowingtotheirproficientinChineselanguageandcultures.TranslationVersion1isactuallyarewriteoftheoriginalpoem.Thecoupletsoftheoriginalarereversed:thethirdandfourthlinesarereversedtothefirstandsecondline.ChangYin-nanandLewisC.Walmsleydevelopedtheircreativityandsubjectivity,sothatthetranslatedpoembecomesanewdifferentwork.Forexample,“复照青苔上”istranslatedto“castsmotleypatternsonthejade-greenmosses”.Firstofall,though“复”isnottranslatedinVersion1,translatorsofitused“motleypatterns”toportraythevividpictureofsunbeam,makingreadersfeeltheyareenjoyingthetruescenery.Andonerespondentevensay“Version1has6000poeticfeel.”ThoughVersion1doesnotrepresenttherhymeoftheoriginal,butitfullyconveysthespiritandimage.______________________________________________________________________________________________ 西南科技大学硕士研究生学位论文第54页KennethRexrothdidnottranslatethetitleoftheoriginaldirectlyinVersion3,buttranslateditinto“DeepintheMountainWilderness”accordingtotheartisticconceptionoftheoriginal.Moreover,KennethRexrothdidnotrestrainbytheform,mereandrhymeoftheoriginal,butgaveplaytohissubjectiveinitiativeandcreativity.Headoptedprosyversetorepresentthebeautyoftheoriginal.EliotWeinbergerandOctavioPazthought“itistheclosesttothespirit,ifnottheletter,oftheoriginal:thethpoemWangmighthavewrittenhadhebeenborna20centuryAmerican”(23).IntranslationVersion4,BurtonWatsongavealotofcaretorepresentthebeautyofformoftheoriginal.WatsontriedhisbesttorepresenttheformbeautyoftheoriginalpoemandgraspedtheessenceofChineseclassicalpoem.“...HispresentationoftheimageisasdirectastheChinese.Thereare24Englishwords(sixperline)fortheChinese20,yeteverywordoftheChinesehasbeentranslatedwithoutindulging,asothershavedone,inatelegraphicminimalism”(WeinbergerandPaz25).InthetranslationofChinesepoetry,asineverything,nothingismoredifficultthansimplicity.Moreover,accordingtochoosingreasonsoftheirfavoriteversionmentionedabove,amongvariousreasonschosebyreaders,betterreproductionofartisticconceptionranksthefirstbothinChineseandEnglishversionofquestionnairefollowedbygoodnessinrhyme,goodnessinformandgoodnessinimage.WhilethemostpopularVersion3chosenbyChinesereadersandthemostpopularVersion1chosenbyEnglish-speakingreadersdoesnotpursuethebeautyofrhyme.Version4ranksthesecondplaceinbothChineseversionofquestionnaireandEnglishversionofquestionnaire.Itisfaithfultotheoriginalandhasgoodnessinform,butdoesnotshowrhymebeauty.Soitcanbeinferredthatonthebasisofkeepingloyaltytotheoriginal,translationswhichtrytheirbesttorepresenttheartconceptionoftheoriginalandshowthebeautyofformcanobtainahigheracceptabilityinbothChinaandEnglish-speaking______________________________________________________________________________________________ 西南科技大学硕士研究生学位论文第55页countries.Inordertofullyverifytheconclusionabove,theauthormakescrossanalysisontherelationshipbetweenfavoritetranslationchoiceandaboveobjectivefacts.Table4.7GenderandFavoriteTranslationoftheChineseversionofQuestionnaireTranslationsGenderMaleFemaleVersion154Version216Version3716Version4316Version539Version649Noneselected11Aggregate2461Table4.8GenderandFavoriteTranslationoftheEnglishVersionofQuestionnaireTranslationsGenderMaleFemaleVersion154Version212Version312Version413Version521Version600Aggregate1012ItcanbeseenfromTable4.7thattherearesevenmaleschoosingVersion3astheirfavoritetranslationwiththelargestnumberofthe24malerespondents.Version3isfollowedbyVersion1chosenbyfivemalerespondents,andVersion6chosenbyfivemalerespondents.Amongthe61femalerespondents,thenumberoffemalerespondentswhochoseVersion3andVersion4isthelargest--16femaleschosethemrespectively.ThepopularityofVersion5andVersion6isthesamewithninefemaleschoosingitrespectively.SoitcanbeseenthatthoughthequantityofmaleismuchlessthanthatoffemalerespondentsinChinesequestionnaire,butasforfavoritetranslation,bothmale______________________________________________________________________________________________ 西南科技大学硕士研究生学位论文第56页andfemalearepronetoVersion3.InTable4.8,halfofthe10malerespondentschoseVersion3astheirfavoritetranslation.ThentwomaleschoseVersion5.Version2,Version3andVersion4gotonepersonsattentionrespectively.NobodychoseVersion6astheirfavoriteone.Amongthe12femalerespondents,thenumberoffemalerespondentswhochoseVersion1isthelargest--fourfemaleschosethemrespectively.Chosenbythreepersons,Version4ranksthesecondplaceintermsofpopularity.ThepopularityofVersion2andVersion3isthesamewithtwofemaleschoosingitrespectively.InEnglishversionofquestionnaire,thenumberofmaleandfemalerespondentsdoesnotdiffersogreatlikethatinChineseversionofquestionnaire.Butastofavoritetranslation,bothmaleandfemaletendedtochooseVersion1.Therefore,itcanbeconcludedthatgenderdoesnotaffecttheacceptabilityoftranslations.Figure4.1AgeandFavoriteTranslationoftheChineseVersionofQuestionnaireFigure4.2AgeandFavoriteTranslationoftheEnglishVersionofQuestionnaire______________________________________________________________________________________________ 西南科技大学硕士研究生学位论文第57页Figure4.1showsthatinChina,respondentslessthan20yearsoldtendtolikeVersion3andVersion6;Version3isthemostpopularversionfollowedbyVersion4andVersion5amongthosebetween20-29yearsold.Thereareonlyfourpeoplewhoare30-39yearsold.Amongthem,tworespondentschoseVersion4andonepersonchoosesVersion3andVersion5respectively.Sowecansafelysaythatage‟simpactontranslationchoiceissmall.InFigure4.2,respondentsindifferentagegroupstendtochoosedifferenttranslationastheirfavoriteones,buttheoveralltrendissimilarwiththeresultoftheChinesequestionnaire.ChoicesoffavoritetranslationconcentrateonVersion1,Version3andVersion4.Besides,thenumberdifferenceofrespondentsattendingtheresearchofEnglishquestionnaireisrelativesmall,sofollowingsummarycanbemadebasedonoverallchoicetrend:agehaslittleeffectonfavoritetranslationchoice.Table4.9EducationbackgroundandFavoriteTranslation(ChineseVersion)TranslationDoctorMasterBachelorNoneEducationVersion10261Version20142Version304181Version404141Version50741Version61354Noneselected0011Aggregate1215211Table4.10EducationbackgroundandFavoriteTranslation(EnglishVersion)TranslationDoctorMasterBachelorNoneEducationVersion10170Version21201Version30210Version40220Version50030Version60000Aggregate17131______________________________________________________________________________________________ 西南科技大学硕士研究生学位论文第58页BothTable4.9andTable4.10showthatfavoritetranslationchoiceisaffectedbyeducationbackgroundmoreorless.Therefore,itcanbeinferredthateducationbackgroundinfluenceschoiceoffavoritetranslation.Readerswithhigherdegreehavedifferentunderstandingofthetranslations.Figure4.3MajorandFavoriteTranslationoftheChineseVersionofQuestionnaireFigure4.4MajorandFavoriteTranslationoftheEnglishVersionofQuestionnaireFigure4.4MajorandFavoriteTranslationoftheEnglishVersionofQuestionnaireFigure4.3showsthatrespondentshavingEnglishprofessionalbackgroundpreferVersion3andVersion4,whichfurtherverifiesthattranslationswithbetterspiritorartisticconceptionrepresentationandformbeautyhavehighpopularityamongChinesereaders.______________________________________________________________________________________________ 西南科技大学硕士研究生学位论文第59页Figure4.4indicatesthatEnglish-speakingreaders‟choicesarenotaffectedbytheirmajor.TheirchoicesaresimilarandmostrespondentsarepronetoVersion1andVersion4.Version1isinfactacombinationofartrepresentation,formbeautyandtranslator‟sinitiative.SotheresultofEnglishquestionnaireissimilartothatoftheChinesequestionnairefromthisperspective.Table4.11OccupationandFavoriteTranslation(ChineseVersion)TranslationUndergraduatPostgraduateEnglishOthersOccupationeTeacherVersion13204Version23202Version310625Version44617Version52514Version66402Noneselected2000Aggregate3025424Table4.12OccupationandFavoriteTranslation(EnglishVersion)TranslationUndergraduPostgraduatEnglishOthersOccupationateeTeacherVersion15202Version20102Version30201Version40004Version51011Version60000Aggregate65110Table4.11showsthatnomatterwhethertherespondentisanundergraduate,apostgraduateoranEnglishteacher,hetendstochooseVersion3ashisfavoritetranslation.Thisimpliesthattranslationsrepresentingtheartisticconceptionaremorepopularwithimpliedreaders.Table4.12indicatesthatundergraduatesinEnglish-speakingcountrieslove______________________________________________________________________________________________ 西南科技大学硕士研究生学位论文第60页Version1,postgraduatesloveVersion1andVersion3,otherrespondentstendtolikeVersion4.ThoughthestylesofVersion1andVersion4differgreatly,theyhavesomethingincommon.First,theyweretranslatedbywesterntranslatorsandallrepresentthespiritoftheoriginalwithdifferentpresentingform.Figure4.5YearofLearningEnglishandFavoriteTranslation(ChineseVersion)Figure4.6YearofLearningEnglishandFavoriteTranslation(EnglishVersion)AccordingtoFigure4.5andFigure4.6,itcanbeinferredthatnomatterhowlongtherespondentshavespentinlearningEnglish,bothChineseandEnglish-speakingreadersarepronetochoosetranslationsshowingtheartisticconceptionandbeautyofformoftheoriginalpoem.______________________________________________________________________________________________ 西南科技大学硕士研究生学位论文第61页Figure4.7LikingtheTangPoetryornotandFavoriteTranslation(ChineseVersion)Figure4.7suggeststhatChinesereaders‟lovetotheTangpoetryaffectsthepopularityoftranslations.RespondentswholovetheTangpoetryprefertranslationswithcompleteartconceptionandbeautifulform.Table4.13YearofLearningChineseandFavoriteTranslation(EnglishVersion)TranslationYearsoflearning1-56-10>10ChineseVersion1700Version2102Version3003Version4003Version5200Version6000Aggregate1008Amongthe18respondentswhohaveeverlearnedChinese,thosehavelessthanfiveyears‟learningofChinesetendtochooseVersion1,thenVersion5.WhileforthosewhohavelearnedChineseforover10years,Version3andVersion5aremorepopular.Thedifferenceiscausedbytheirdifferentunderstandingoftheoriginalpoem.ThosewhochoseVersion1mainlyappreciatedthetranslationfromapureperspectiveofEnglishpoem.TranslatorsofVersion1rewroteorrecreatedtheoriginalandgaveafull______________________________________________________________________________________________ 西南科技大学硕士研究生学位论文第62页playtotheirsubjectiveinitiative.WileforrespondentswhohavelearnedChineseforover10years,theyhaveabetterunderstandingoftheoriginalpoemandconsidermorewhentheymakeachoice.Version3isaprosyversewithbetterartisticrepresentation,whileVersion4paysmuchattentiontoformbeautyandisfaithfultotheoriginal.English-speakingreaderswithChinesefoundationhaveabalancedevaluationoftranslations.WhetherhavingChinesefoundationaffectsthechoiceoffavoritetranslation.Figure4.8WhetherFondofPoetryandFavoriteTranslation(EnglishVersion)IntheEnglishversionofquestionnaire,nomatterwhethertherespondentslovepoetryornot,thefinalresultoftheirfavoritetranslationremainsthesame.Version1isstillthemostpopularone.Agoodtranslationshouldnotonlybeacceptedbyimpliedreaders,butbythosewhoevendonotlovepoetry.JustastheChinesetranslationof“Ifwintercomescanspringbefarbehind?”inShelley‟sOddtotheWestWindandBacon‟sOfStudiesinChina,nearlyeveryeducatedChinesecanreciteatleastoneortwosentencesfromthemnomattertheyloveliteraryornot.______________________________________________________________________________________________ 西南科技大学硕士研究生学位论文第63页Table4.14ImpressionoftheTangPoetryandFavoriteTranslation(EnglishVersion)TranslationAnyYesNoImpressionoftheTangPoetryVersion127Version221Version330Version431Version503Version600Aggregate1012AmongthosewhohaveimpressiononthepoetryoftheTangDynasty,thenumberofrespondentschoosingVersion3andVersion4isthelargestandthatofrespondentschoosingVersion1andVersion2ranksthesecondplace.ThosewhohavenoimpressionontheTangpoetrytendtoloveVersion1more,whichmaybecausedbyreaders‟shallowunderstandingofthecharacteristicsofthepoemsintheTangDynasty.ThetoptwopopularversionsamongChinesereadersareVersion3andVersion4,andthenareVersion6andVersion5,whichweretranslatedin1970,1971,2007and1988respectively,whereasthetoptwoprevailingversionsamongEnglish-speakingrespondentsareVersion1andVersion4,whichwererespectivelytranslatedin1958and1971.Version2andVersion3aretiedforsecondwithVersion5,andtheyarerespectivelytranslatedin1962,1970and1988.Sotheconclusioncanbesafelymadethatthetimeoftranslationdoesnotaffectthepopularityoftranslations.4.4.4DiscussionsSeeingfromtheanalysisresultofbothChineseandEnglishquestionnaire,theresearchresultiscontrarytothehypothesistheauthormadebeforedoingthisresearch.Comparativelyspeaking,thepopularityoftranslationtranslatedinprosyversewithbetterartisticconceptionrepresentationishigherthanthatadoptsrhymestyle,and______________________________________________________________________________________________ 西南科技大学硕士研究生学位论文第64页acceptabilityofwesterntranslators‟translationsishigherthantranslationsofChinesetranslators.Version3andVersion6areallprosystyle,buttheiracceptabilityisdifferent.Respondentsbelievethattheformerhasabetterrepresentationofthespiritoftheoriginalpoem.PopularityofversiononeandVersion4isrelativehigherowingtotheirformsimilaritytotheoriginalandbetterartisticconceptionrepresentation;moreover,translatorssubjectivitycannotbeignored.Soitcanbesafelysaidthatthestyleoftranslationaffectsitspopularityandacceptability.ButChinesereaderspaymoreattentiontoartisticrepresentationandthentoformbeautyofthetranslation,whileEnglish-speakingreaderstendtochoosetranslationswithformbeauty,artisticrepresentationaswellastranslator‟srecreationoftheoriginal.Byaboveanalyzingofthefinalresult,translator‟sstatusinthetranslationofChineseclassicalpoemsisprominent.Translatorsshouldalsopayattentiontothefollowingcrucialaspectsintheirtranslationwork.4.4.4.1Importanceoftranslator‟screativityandsubjectivestatusLiuMiqingoncesaid,“Thoughtranslatorisrestrainedbytranslationobjectseverywherewhentranslatingaworkanditishardtomakeanyprogressinparticularplace.However,iftranslatorfitsinwithdevelopingdynamicsubjectivityandtrieshisbesttogetoverwiththelimitationoftranslationobjects,histranslationcanstillbeacreativeoneathiswill”(M.Q.Liu174).Asestheticactivity‟object,literaryworkisjustoneofthefactorsmakingupofreceptionoracceptationactivity.Worksnotacceptedbyreadersarenotcompletedbecausetheyareabsentfromreceptors‟ideologyasestheticobjects.Onlywhenreceptorperceiveandunderstandtheirestheticfeaturescantheyformtheirpartideologyandgetfinalexistenceandaccomplishment.WhentheytranslateChineseclassicalpoems--asortofspecialtext,translators‟______________________________________________________________________________________________ 西南科技大学硕士研究生学位论文第65页subjectivityandcreativityareembodiedintwoways.First,translatorwillimaginethatreadersofhistranslationcanappreciateandunderstandtheartisticconceptionandbeautifulimageintheoriginalpoems.Second,translatorwillgivefullplaytohiscreativitysothathecanrepresenttheimageandartisticconceptionoftheoriginaltexttothetargetreaders.Thisprocessiscalled“creativetranslation”.Inaddition,appealingstructurecanbealsoadoptedinpoemtranslation.Thatdoesnotmeantranslatorsmustcreatetextblanksandspotsofindeterminacyonpurposeduringtranslationprocess,butmeansthattranslatorsshouldtranslatetextblanksandspotsofindeterminacyintheoriginalpoem.4.4.4.2SignificanceofconsideringImpliedReader‟sHorizonofExpectationAstransformersofculture,translatorscanchangepeople‟sthinking,recognition,andactionbytheiruniquefunction.Duringtranslationactivities,translatorshavegottotakereaders‟receptionpsychologyintoconsiderationatthetimewhenchoosingsourcetext.Onlywhentheirtranslationscatchtheeyesormeettheexpectationhorizonoftargetorimpliedreaders,cantheirtranslationsbeacceptedwidely.Toascertainimpliedreaders‟horizonofexpectation,translatorsshouldatfirstregardthemselvesasthetargettextreader.This“roleplays”workhelpstranslatorstoknowmuchmoreabouttherequirementsorinterestsofpotentialreaders,andthentheycanmakeefforttomeetreaders‟needtomakeabettertranslation.______________________________________________________________________________________________ 西南科技大学硕士研究生学位论文第66页ChapterFiveCONCLUSIONAftertheanalysisanddiscussionoftheresultofthisempiricalresearch,theauthorfindthatitisessentialfortranslatorstotaketargetreaders‟horizonofexpectationsandreadinghabitsintoconsideration.Furthermore,translators‟subjectivityandcreativityplayacrucialroleinthepopularityoftranslations.Nothingisperfect,solimitationsaredifficulttoavoidintheempiricalresearch.5.1FindingsBasedonabovediscussionsandanalysisofdatacollectedinthisempiricalresearch,followingfindingsareobtained:A.Translator‟sidentityhasinfluenceontheacceptabilityofpoetrytranslations.TranslationsofwesterntranslatorswhoareproficientinChineselanguageandculturesaremorepopularwithtargetreaders.B.Thegenderofreadersdoesnotaffecttheacceptabilityofpoetrytranslations.C.Thechoiceoftranslationstylehasaneffectonthepopularityofpoetrytranslations,butreaderspaymoreattentiontotheexpressionoftheartisticconceptionoftheoriginal.D.Acceptabilityofpoetrytranslationsisaffectedbypotentialreaders‟educationbackgroundmoreorless.E.Readerstendtolovetranslationsconveyingcompleteartisticconceptionoftheoriginalandthenprefertranslationskeepingtheformbeautyoftheoriginalpoems.______________________________________________________________________________________________ 西南科技大学硕士研究生学位论文第67页F.Thetimeoftranslationdoesnotaffectitspopularityandacceptability.Therefore,inordertohaveasuccessfultranslationandobtainsatisfactoryartisticrepresentation,translatorshouldgivefullplaytohissubjectiveinitiativeandcreativity,andbearhisdoubleidentitiesoftranslatorsandreadersinmind.Atfirst,translatorscomprehendthe“spirit”and“image”oftheoriginalpoemsasareader.“Seeingfromperspectiveoftranslationaesthetics,thesuccessofliteraryworkslargelydependonhisobediencetothespiritandtoneoftheoriginal,andonhissametargetpursuingwiththeauthorofsourcelanguage.”(M.Q.Liu301)Thentranslatorshavetostandonthepositionoftargetreaders,taketargetreaders‟aesthetichabitsintoconsideration,andadoptpropertranslationstrategiesortechniquestomakemaximumrepresentationofthebeautyoftheoriginal,sothattargetreaderscanobtainthesameestheticfeelingswiththereadersofthesourcetext.5.2LimitationsDuringtheprocessofthisempiricalresearch,limitationscannotbeavoided:Firstofall,thedesignofthequestionnaireisnotperfect,andsomeoverlapsappearinthepartofobjectivequestions,whichmayperplextherespondentandaffecttheirchoice.Secondly,comparedwiththenumberofrespondentstakingpartinresearchoftheChineseversionofquestionnaire,thatofrespondentsattendingthesurveyofEnglishversionofquestionnaireisrelativelysmall,whichmaymaketheresearchresultlackofpersuasion.Thirdly,onlyonepoemofWangWeiischoseninthisresearchowingtothelimitationofexistingmaterials,whichaffectstheobjectivityandcomprehensivenessoftheempiricalresearchtosomeextent.Lastly,becauseoftherestraintofknowledgeandexperience,author‟scomparative______________________________________________________________________________________________ 西南科技大学硕士研究生学位论文第68页analysisandtranslationcriticism,forinstanceevaluationoftranslator‟swordchoiceandrepresentationofthespiritorartisticoftheoriginal,etc.,maybeimproperorevenfalse.Sothereexistsroomforimprovementincriticalmethods.5.3SuggestionsforFutureResearchThoughthereexitsomelimitationsinthesurvey,itcannotbedeniedthatthisempiricalresearchcanprovidereferenceforChinesetranslatorsengagingintheEnglishtranslationofChineseclassicalpoems:TheEnglishtranslationofChineseclassicalpoemsneedstheengagementofbothChinesescholarsandwesternsinologistswithoutconsideringwhothewinnersare.ChinesescholarshavealongwaytogointheEnglishtranslationofChineseclassicalpoetry.Theycannottranslatebehindcloseddoorswithoutcommunicatingwithwesternsinologists.Instead,Chinesetranslatorsshouldlearntheadvantagesofwesternsinologistsandoffsettheirweakness,sothatoutstandingChineseculturecangoabroadandbesharedbytheworld.Also,translatorsshouldnotpurposelypursuetherhymebeautyofChinesepoems,butshouldrepresentthespiritorartisticconceptiononthebasisofbeingloyaltotheoriginal,andthentrytokeeptheformbeautyandrhymebeauty,whichcandefinitelyaddthecharmofthetranslation.Moreover,itisveryimportantfortranslatorstoresearchontheacceptabilityoftargetreaders,butbeforetranslatingChineseclassicalpoems,translatorsshouldascertainthescopeoftargetreadersofhistranslation.Inthisway,translatorscanhaveadefiniteaimduringhistranslationandshortenthedistancebetweenthemselvesandreader.Thisrequirestranslatorstobereader-orientedandtakepotentialreaders‟readingexpectationintoconsideration.Potentialreadershereincludenotonlyexpertsorresearchersinthisfieldathomeandabroad,butalsodomesticEnglishmajors,foreign______________________________________________________________________________________________ 西南科技大学硕士研究生学位论文第69页poetryloversandnon-professionalstakinginterestinChinesecultures.Therefore,itisessentialfortranslatorstoascertaintheirtargetreadersbeforetranslatingpoems.Atthistime,translatorsneedtotrytheirbesttointerpretandtranslatetheoriginalpoemsbystandingindifferentreaders‟position.OnlyinthiswaycantranslatorsnarrowthegapbetweenthemselvesandreadersandexpandthereadingmarketofChineseclassicalpoems.Translationisakindofternaryrelationinvolvingauthorofsourcelanguage,translatorandtargetreaders.Inordertotranslatenaturalsourcelanguageintonaturaltargetlanguage,translatorshavetogetthroughacomplicatedpsychologicalcognitiveprocesstonarrowthegapbetweenthemselvesandtheauthoroftheoriginalandhavespiritualresonancewiththeauthor.Thentranslatorsrepresentthesourcetextvividlyinanotherlanguageaccordingtotheirownfeeling.Intheprocessofartisticrepresentation,translatorsmustseizetheaestheticexpectationsandreceptiveorientationsoftargetreaders,sothattargetreaderscanhavethesamefeelingwithsourcetextreadersafterreadingthetranslation.______________________________________________________________________________________________ 西南科技大学硕士研究生学位论文第70页WORKSCITEDChang,Yin-nanandWalmsley.LewisC.PoemsbyWangWei.Vermont:CharlesE.TuttleCompany,1958.Fletcher,W.J.Bainbridge.GemsofChineseVerse.Shanghai:n.pb.l.,1919.Grayham,A.C.PoemsoftheLateT'ang.Middlesex:PenguinBooks,1965.Hung,William.TuFu,China’sGreatestPoet.Boston:HarvardUniversityPress,1952.Huang,Yunte.SHI:ARadicalReadingofChinesePoetry.NewYork:RoofBooks,1997.Hinton,David.MountainHome:TheWildernessPoetryofAncientChina.NewYork:NewDirectionsPublishingCorporation,2005.Hinton,David.TheSelectedPoemsofWangWei.NewYork:NewDirectionsPublishingCorporation,2006.Harris,Peter.ThreeHundredTangPoems.NewYork:AlfredA.Knopf,2009.Iser,Wolfgang.TheActofReading:aTheoryofAestheticResponse.BaltimoreandLondon:theJohnsHopkinsUniversityPress,1978.Iser,Wolfgang.ReaderasAnImportantPartofNovel.BaltimoreandLondon:theJohnsHopkinsUniversityPress,1978.Iser,Wolfgang.LiteratureandCommunication:InteractionbetweenTextandReader:ReadersintheText.Princeton:PrincetonUniversityPress,1980.Jauss,HansRobert.TranslatedbyTimothyBahti.TowardanAestheticofReception.Minneapolis:UniversityofMinnesotaPress,1982.Kiang,Kang-Hu.,andBynnerWitte.TheJadeMountain：BeingThreeHundredPoemsoftheTangDynasty.NewYork:AlfredA.Knopf,1929.Kenneth,Rexroth.OneHundredPoemsfromtheChinese.NewYork:NewDirectionsPublishingCorporation,1956.Kenneth,Rexroth.OneHundredMorePoemsfromtheChinese.NewYork:NewDirectionsPublishingCorporation,1970.Kenneth,Rexroth.,andChuang,Ling.TheOrchidBoat.SeaburyPress,1972.Kenneth,Rexroth.,andChuang,Ling.LiChing-choCompletePoems.NewYork:NewDirectionsPublishingCorporation,1980.Kenneth,Rexroth.,andChuang,Ling.WomenPoetsofChina:528.NewYork:NewDirectionsPublishingCorporation,1982.Lowell,Amy.,andAyscoughFlorence.Fir-FlowerTablets:PoemsTranslatedfromtheChinese.BostonandNewYork:HoughtonMifflinCompany,1922.Liu,JamesJ.Y.TheArtofChinesePoetry.Chicago:UniversityofChicagoPress,1962.Luo,Xinghua.“TheModernAmericanVersionofChineseGui-YuanPoems--Carolyn______________________________________________________________________________________________ 西南科技大学硕士研究生学位论文第71页Kizer‟sImitationsofChineseClassicalGui-YuanPoems.”SichuanInternationalStudiesUniversity,2012.Li,Defeng.CurriculumDesign,NeedsAssessmentandTranslationPedagogy.Beijing:ForeignLanguageTeachingandResearchPress,2012.Owen,Stephen.ThePoetryoftheEarlyTang.NewHeaven:YaleUniversityPress,1977.Owen,Stephen.AnAnthologyofChineseLiterature,Beginningsto1911.W.W.Norton&Co.,1997.Robinson,G.W.PoemsofWangWei.Harmondsworth:PenguinBooks,1973.Stimson,HughM.FiftyFiveT'angPoems:ATextintheReadingandUnderstandingofT'ang.NewHeaven:YaleUniversityPress,1976.Stewart,Frank.SilencedVoices.Honolulu:UniversityofHawaiiPress,2000.Seaton,J.P.TheShambhalaAnthologyofChinesePoetry.Boston:ShambhalaPublications,Inc.,2006.Waley,Arthur.AHundredAndSeventyChinesePoems.NewYork:AlfredA.Knopf,1919.Watson,Burton.ColdMountains:100PoemsbytheT’angPoetHanShan.NewYork:ColumbiaUniversityPress,1970.Watson,Burton.ChineseLyricism.NewYork:ColumbiaUniversityPress,1971.Weinberger,Eliot.,andPazOctavio.19WaysofLookingatWangWei:HowaChinesePoemisTranslated.MoyerBellLtd,U.S.,1987.Weinberger,Eliot.TheNewDirectionsAnthologyofClassicalChinesePoetry.NewYork:NewDirectionsPublishingCorporation,2005.Yip,Wai-lim.HidingtheUniverse,PoemsofWangWei.NewYork:Munshinsha/Grossman,1972.Young,David.DuFu:ALifeinPoetry.NewYork:AlfredA.Knopf,2008.Yang,Jeffrey.Birds,Beasts,andSeas--NaturePoemsfromNewDirections.NewYork:NewDirectionsPublishingCorporation,2011.Yang,Ziyin.“OnStyleReproductioninTranslatingWangWei‟sPastoralPoetryintoEnglish.”ShanghaiInternationalStudiesUniversity,2011.Zheng,Xin.“OnEnglishVersionsofLiBai‟sPoemsfromthePerspectiveofAestheticsofTranslation.”GuangxiUniversity,2007.Zhao,Hongzhan.,andWangYue.ASelectionofthePrimeTangPoems.Bloomington：XlibrisCorporation,2011.Chen,Fukang.[陈福康]，中国译学理论史稿.上海：上海外语教育出版社，2000Cao,Yinghua.[曹英华]，接受美学与文学翻译中的读者关照.内蒙古大学学报(人文.社会科学版)，2003(05)Cong,Zihang.[丛滋杭]，中国古典诗歌英译理论研究.北京：国防工业出版社，2007Chang,Chengxia.[常呈霞]，杜甫诗歌在英美世界之翻译、传播与接受.河南理工大学学报(社会科学版)，2012（02）Dang,Zhengsheng.[党争胜]，中国古典诗歌在国外的译介与影响.外语教学，2012(03)Dou,Keyang.[窦可阳]，接受美学“中国化”的三十年.当代视野，2012(02):157Eagleton,Terry.[伊格尔顿]，二十世纪西方文学理论.伍晓明译，西安：陕西师范______________________________________________________________________________________________ 西南科技大学硕士研究生学位论文第72页大学出版社，1983Fang,Mengzhi.[方梦之]，译文如何为读者所接受.上海科技翻译，1992(1)Fu,Zhongxuan.[傅仲选]，实用翻译美学.上海：上海外语教育出版社，1993Fan,Zunxian.[樊遵贤]，论“文本空白与未定点”对读者鉴赏的意义.长沙：湖南社会科学，2000(05)：69Fu,Hao.[傅浩]，论中国古诗的英译.国外文学，2005(01)Fang,Jianzhong.[方建中]，论姚斯的接受美学思想.求索，2004（05）：156Feng,Enyu.[冯恩玉]，从哲学阐释学和接受美学看多个文学译本并存.东华大学学报(社会科学版)，2005(03)Guan,Qun.[关群]，清净澹泊闲适自然——谈王维诗歌的禅佛意趣.哈尔滨商业大学学报（社会科学版），2004（02）：123Gu,Guozhu.,andLiu,Jinwen.[顾国柱，刘劲文]，20世纪西方文论述评.云南大学学报(社会科学版)，2008(04):90He,Wei.[贺微]，翻译：文本与译者的对话.外国语，1999(01)Hu,Zhihui.[胡志辉]，谁来向国外译介中国作品.中华读书报，2003-01-29Huang,Junxiong.[黄俊雄]，“忠、优、美”翻译原则和“体”“神”“表”平衡模式暨汉诗英译实例分析与评估.中国翻译，2004(04):37-43Huang,Dinghua.,andHuang,Zhigang.[黄定华，黄志刚]，接受美学与读者反应批评.高等函授学报(哲学社会科学版)，2005(05):31Hu,Anjiang.[胡安江]，文本旅行与翻译变异——论加里·斯奈德对寒山诗的创造性“误读”.解放军外国语学院学报，2005（06）Hu,Anjiang.[胡安江]，翻译的本意——《枫桥夜泊》的五种汉学家译文研究.天津外国语学院学报，2007(06)Hu,Anjiang.[胡安江]，英国汉学家阿瑟·韦利的寒山诗英译本研究.外语与外语教学，2009(09)Hu,Anjiang.[胡安江]，中国文学“走出去”之译者模式及翻译策略研究.中国翻译，2010(06)Iser,Wolfgang.[沃尔夫冈·伊瑟尔]，阅读活动：审美反应理论.金元蒲译.北京：中国社科出版社，1991Iritani,Sensuke.[入谷仙介]，王维研究.北京：中华书局，2005Jauss,andHolub,R.C.[姚斯,R.C.霍拉勃]，接受美学与接受理论.周宁，金元浦译.沈阳：辽宁人民出版社,1987Jiang,Zhiwen.,andWen,Jun.[姜治文，文军]，翻译标准论.成都：四川人民出版社，2000Jia,Dan.[覃丹]，美国现代派诗人对中国古典诗歌的译介与接受.重庆师范大学学报（哲学社会科学版)，2008(02)Lü,Shuxiang.[吕叔湘]，中诗英译比录.上海：上海外语教育出版社，1980Liu,Zheng.[刘峥]，论翻译标准的多元化——从接受美学谈起.外语研究，1991(03)Le,Daiyun.[乐黛云]，北美中国古典文学研究名家十年文选.南京：江苏人民出版______________________________________________________________________________________________ 西南科技大学硕士研究生学位论文第73页社，1996Lü,Jun.[吕俊]，翻译：从文本出发.外国语，1998(03)Liu,Miqing.[刘宓庆]，翻译美学导论.北京：中国对外翻译出版公司，2005Liu,Huawen.[刘华文]，汉诗英译的主体审美论.上海：上海译文出版社，2005Li,Xiang.[李翔]，试从接受美学角度评《爱玛》的两个中译本.合肥工业大学学报(社会科学版)，2008(01)Liu,Jie.,QiuMeiying.,andWangFengzhen.[刘婕，邱美英，王逢振]，二十世纪西方文论.外语教学与研究出版社，2009Li,Bingmei.[李冰梅]，韦利创意英译如何进入英语文学——以阿瑟·韦利翻译的《中国诗歌170首》为例.中国比较文学，2009(03)Li,Linbo.[李林波]，论创作取向的翻译——以庞德、斯奈德等人英译中国古诗为例.外语教学，2010（03）Liu,Lan.,Xu,Yihua.[刘兰，徐宜华]，接受美学述评.海外英语，2013（09）Liu,Zhaohui.[刘朝晖]，评《红楼梦》两个英译本的可接受性——以美国亚利桑那州立大学学生的抽样调查为例.中国翻译，2014（01）：82-87Lu,Zhonglei.[卢忠雷]，翻译中美的再现.商丘师范学院学报，2011(05):127Mu,Lei.[穆雷]，接受理论与习语翻译.中国翻译，1990(04)Ma,Xiao.[马萧]，文学翻译的接受美学观.中国翻译，2000（02）Ma,Zuyi.,andRen,Rongzhen.[马祖毅，任荣珍]，汉籍外译史（修订本）.武汉：湖北教育出版社，2003Mao,Ronggui.[毛荣贵]，翻译美学.上海：上海交通大学出版社，2005Nie,Xinmei.[聂馨梅]，翻译美学与实践——以许渊冲的翻译理论为例.群文天地，2011(05)Owen,Stephen.[宇文所安]，中国文论：英译与评论.王柏华，陶庆梅译.上海：上海社会科学院出版社，2002Qin,Hongwu.[秦洪武]，论读者反应在翻译理论和翻译实践中的意义.外国语(上海外国语学院学报)，1999(01)Qu,Hong.,andHuAn.[区鉷，胡安]，寒山诗在日本的传布与接受.外国文学研究，2007（03）Qu,Hong.,andHuAn.[区鉷，胡安]，文本旅行与经典建构——寒山诗在美国翻译文学中的经典化.中国翻译，2008（03）Sui,Rongyi.,andLiFengping.[隋荣谊，李锋平]，翻译美学初探.外语与外语教学，2007（11）Sui,Rongyi.,andLiFengping.[隋荣谊，李锋平]，从翻译美学视角探析《落花生》的两个英译本.外国语言文学，2008（02）Sun,Jiancheng.,andWen,Xiuying.[孙建成，温秀颖]，翻译美学思想与译作的审美重构—简评刘士聪文学翻译美学思想.翻译评论，2007（03）TranslatorsAssociationofChina.[中国翻译工作者协会《翻译通讯编辑部》]编，翻译研究论文集（1894-1948）.北京：外语教学与研究出版社，1984TranslatorsAssociationofChina.[中国翻译工作者协会《翻译通讯编辑部》]编，翻______________________________________________________________________________________________ 西南科技大学硕士研究生学位论文第74页译研究论文集（1949-1983）.北京：外语教学与研究出版社，1984Tang,Jianhe.,andYan,Jun.[唐健禾，严俊]，文化混血:中国古诗对美国诗歌的影响.西南民族大学学报(人文社科版)，2007(191)Tao,Lan.[陶兰]，理雅各、翟理斯、韦利及其中国典籍英译研究.中南大学，2009Weng,Xianliang.[翁显良]，本色与变相——汉诗英译琐议之三.外国语(上海外国语学院学报)，1982(01):24-27Wu,Chizhe.[吴持哲]，文学翻译者的接受美学.中国翻译，1989(6)Wang,Xiaoqin.[王晓秦]，接受美学漫谈.内蒙古社会科学，1987(02):87Wang,Lina.[王丽娜]，王维诗歌在海外.唐都学刊，1991（04）Wang,Lu.[王璐]，英汉诗歌翻译中语言美学功能的运用.外国语言文学，2003（01）Wang,Shaoxiang.[王绍祥]，西方汉学界的“公敌”——英国汉学家翟理斯（1845-1935）研究.福建师范大学，2004Wang,Baotong.[王宝童]，王维诗百首.上海：世界图书出版公司，2005Wu,Xiaojun.[伍小君]，诗歌翻译的接受美学观——兼评王维诗《送元二使安西》的四种英译文.外语与外语教学，2007（10）Wang,Shuhai.[王树海]，诗禅证道.北京：新星出版社，2007Wang,Jing.,andLuo,Lijia.[王静,罗立佳]，从接受美学及读者角度论翻译策略.湘潭师范学院学报(社会科学版)，2008(02)Wang,Xueming.[王雪明]，试论中国古代文论“玩味说”对文学翻译的解释力——以西方接受美学为参照.外语与外语教学，2008(04)Wei,Jiahai.[魏家海]，英伽登的层次理论与BurtonWatson英译中国古诗.中国翻译，2009（01）Wang,Houping.[王厚平]，美学视角下的文学翻译艺术研究——许渊冲的翻译理论与实践，上海外国语大学，2010Xu,Yuanchong.[许渊冲]，“毛主席”诗词译文研究.外国语，1979（1）：39Xu,Yuanchong.[许渊冲]，中诗英韵探胜——从《诗经》到《西厢记》.北京：北京大学出版社，1992Xi,Yongji.[溪永吉]，翻译美学比较研究.武汉：湖北教育出版社，1993Xi,Yongji.[溪永吉]，文学翻译比较美学.上海：上海外语教育出版社，2001Xu,Yuanchong.[许渊冲]，“体”、“神”、“表”平衡模式是评估文学翻译的科学方法吗？.中国翻译，2005(02):61-62Xu,Yuanchong.[许渊冲]，翻译的艺术.北京：五洲传播出版社，2006Xu,Zhixiao.[徐志啸]，他者的眼光——美国学者唐诗研究论析之一.福建师范大学学报(哲学社会科学版)，2008（05）Xu,Yihua.,andLiao,Zhiqin.[徐宜华，廖志勤]，从王维鹿柴三个英译文本看翻译审美再现.西南科技大学学报：哲学社会科学版，2014（08）：78-79Yang,Wuneng.[杨武能]，阐释、接受与再创造的循环.中国翻译，1987(06)Yang,Xianyi.,andDai,Naidie.[杨宪益，戴乃迭]，王维诗选.北京：中国文学出版社，1999Yang,Jianguo.[杨建国]，从庞德英译中国古诗看奈达的“形式对应”理论.长安大______________________________________________________________________________________________ 西南科技大学硕士研究生学位论文第75页学学报(社会科学版)，2005（03）Yang,Chun.[杨春]，接受美学视角下文学文本的翻译理解.佳木斯大学社会科学学报，2005(05)Yang,Xiumei.,andBaoTongfa.[杨秀梅，包通法]，中国古典诗歌英译与历史现状.外语与外语教学，2009（12）Yang,Ziyin.[杨紫寅]，王维田园诗英译的风格再现.上海外国语大学，2011Zhang,Longxi.[张隆溪]，仁者见仁，智者见智——关于阐释学与接受美学.读书，1984(03):91Zhao,Diancheng.[赵殿成]，王右丞集笺注.上海：上海古籍出版社，1984Zhao,Zecheng.,ZhangLiandi,andBiWanchen.[赵则诚,张连弟,毕万忱]，中国古代文学理论辞典.长春：吉林文史出版社，1985Zhang,Guofeng.[章国锋]，国外一种新兴的文学理论——接受美学.文艺研究，1985（04）：71Zhao,Yiheng.[赵毅衡]，远游的诗神.成都：四川人民出版社，1985Zhang,Boran.,andZhangSijie[张柏然，张思洁]，中国传统译论的美学辨.现代外语，1997(02)Zhu,Hui.[朱徽]，美国后现代诗歌与中国古诗.外国文学，2003（05）Zhu,Hui.[朱徽]，唐诗在美国的翻译与接受.四川大学学报（哲学社会科学版），2004（04）Zhu,Hui.[朱徽]，中国诗歌在英语世界-英美译家汉诗翻译研究.上海：上海外语教育出版社，2009Zhang,Ying.[张英]，论接受美学对文学翻译的启示.武汉理工大学，2005Zhou,Xiaolin.,andHu,Anjiang.[周晓琳，胡安江]，寒山诗在美国的传布与接受.西南政法大学学报，2008（02）Zhu,Liyuan.[朱立元]，走自己的路——对于迈向21世纪的中国文论建设问题的思考.文学评论，2000（03）：5Zhu,Liyuan.[朱立元]，接受美学导论.合肥：安徽教育出版社，2009______________________________________________________________________________________________ 西南科技大学硕士研究生学位论文第76页APPENDICESAppendixI:TranslationWorksDuringChinesePoetryUpsurgeinAmerica序号译者译/编译作翻译形式出版地及出版社出版年代庞德19151Cathay《神州集》独立翻译(EzraPound)1919弗莱彻GemsofChineseVerse2（W.J.Bainbridge独立翻译Shanghai:n.pb.l.1919《中国诗歌精华》Fletcher）弗莱彻MoreGemsofChineseVerse3W.J.Bainbridge独立翻译1919《中国诗歌精华续编》FletcherNewYork:AlfredA.KnopfAHundredAndSeventy4ArthurWaley独立翻译（最早是1918年伦敦康斯特1919ChinesePoems布尔出版有限公司出版）洛威尔，艾思柯Fir-FlowerTablets:PoemsBostonandNew1922,5AmyLowell&TranslatedfromtheChinese合作翻译York:HoughtonMifflin2010FlorenceAyscough《松花笺》CompanyChinesePoemsinEnglish6蔡廷干Rhyme独立编译1923《唐诗英韵》TheJadeMountain：Being江亢虎，宾纳ThreeHundredPoemsofthe7KiangKang-Hu&合作翻译NewYork:AlfredA.Knopf1929TangDynasty《群玉山头：唐WitteBynner诗三百首》陈希和威尔斯8《王维诗选》合作翻译HenryW.Wells9洪业TuFu,China‟sGreatestPoet独立著译HarvardUniversityPress1952______________________________________________________________________________________________ 西南科技大学硕士研究生学位论文第77页WilliamHung《中国最伟大诗人杜甫诗歌注释》雷克思洛斯100PoemsFromtheChineseNewYork:NewDirections10独立翻译1956KennethRexroth《汉诗一百首》PublishingCorporation张音南,沃姆斯利Rutland,Vt.&Tokyo:Charles11Poems《王维诗》合作翻译1958LewisC.WalmsleyE.Tuttle斯奈德12英译24首寒山诗独立翻译EvergreenReview1958GarySnyder刘若愚Chicago:UniversityofChicago13TheArtofChinesePoetry独立翻译1962JamesJ.Y.LiuPress葛瑞汉PoemsoftheLateT'ang14独立著译Middlesex:PenguinBooks1965Grayham.A.C.《晚唐诗》PoemsofTang-600Poems唐子章15WritteninTangStyle独立编译1969TangZiChang《唐诗六百首》ColdMountains:100Poemsby华岑16theT‟angPoetHanShan独立编译ColumbiaUniversityPress1970BurtonWatson《唐代诗人寒山诗100首》OneHundredMorePoemsfrom雷克思洛斯NewYork:NewDirections17theChinese独立著译1970KennethRexrothPublishingCorporation《续汉诗一百首》NewYork:Columbia18BurtonWatsonChineseLyricism1971UniversityPressTheBoatUntiedandOtherPoems:ATranslationofT'ang19王慧铭独立编译1971Poems《不系船:唐诗选译》HidingtheUniverse,Poemsof叶维廉NewYork:Munshinsha20WangWei独立翻译1972Wai-limYip/Grossman《藏天下:王维诗选》钟玲TheOrchidBoat21雷克思洛斯合作翻译SeaburyPress1972《兰舟》KennethRexroth______________________________________________________________________________________________ 西南科技大学硕士研究生学位论文第78页TheOldManWhoDoesasHePleases:Selectionsfromthe华岑NewYork:Columbia22PoetryandProseofLuYu独立翻译1973BurtonWatsonUniversityPress《随心所欲一老翁:陆游诗文选》阿瑟·库柏LiPoandTuFu23独著PenguinBooks1973ArthurCooper《李白与杜甫》FiftyFiveT'angPoems:AText斯蒂姆森intheReadingand24独立翻译YaleUniversityPress1976HughM.StimsonUnderstandingofT'ang《唐诗五十五首》宇文所安ThePoetryoftheEarlyTang25独著YaleUniversityPress1977StephenOwen《初唐诗》宾纳26《群玉山头》独立翻译1978Bynner钟玲LiChing-choCompletePoemsNewYork:NewDirections27雷克思洛斯合作翻译1980《李清照诗全集》PublishingCorporationKennethRexroth余宝琳28《王维诗选》独立编译1980PaulineYuTheGreatAgeofChinese宇文所安29Poetry:TheHighT'ang独著1981StephenOwen《盛唐诗》雷斐SelectedPoemsofBaiJu-yi30独立编译HowardS.Levy《白居易诗选》钟玲NewYork:NewDirections31雷克思洛斯WomenPoetsofChina:528合作翻译1982PublishingCorporationKennethRexroth19WaysofLookingatWangEliotWeinberger&32Wei:HowaChinesePoemis合作编著MoyerBellLtd,U.S.1987OctavioPazTranslatedNewYork:NewDirections33DavidHintonTheSelectedPoemsofTuFu独立编译1989PublishingCorporation罗伯特·亨瑞克斯ThePoetryofHanShan—AStateUniversityofNewYork34译注1990RobertG.HenricksCompleteAnnotatedPress______________________________________________________________________________________________ 西南科技大学硕士研究生学位论文第79页TranslationofColdMountain《寒山诗(全译注释本)》35DavidHintonSelectedPoemsofT'AoCh'Ien独立翻译CopperCanyonPress,U.S.1993NewYork:NewDirections36DavidHintonTheSelectedPoemsofLiPo独立翻译1996PublishingCorporationAnAnthologyofChinese宇文所安Literature,Beginningsto191137独立编译W.W.Norton&Co.1997StephenOwen《中国文学选集(初始于1911年)》Introduction[A].SHI:A黄运特38RadicalReadingofChinese独立译著NewYork:RoofBooks1997YunteHuangPoetryTheSelectedPoemsofPoNewYork:NewDirections39DavidHinton独立译著1999Chu-IPublishingCorporation华岑40PoChu-i:SelectedPoems独立译著ColumbiaUniversityPress2000BurtonWatsonMountainHome:TheWashingtonD.C.:Counterpoint/2002,41DavidHintonWildernessPoetryofAncient独立译著NewYork:NewDirections2005ChinaPublishingCorporationTheNewDirectionsAnthologyNewYork:NewDirections42EliotWeinberger编著2005ofClassicalChinesePoetryPublishingCorporationTheShambhalaAnthologyofBoston:Shambhala43J.P.Seaton独立译著2006ChinesePoetryPublications,Inc.TheSelectedPoemsofWangNewYork:NewDirections44DavidHinton编著2006WeiPublishingCorporation45DavidYoungDuFu:ALifeinPoetry独立译著NewYork:AlfredA.Knopf200846PeterHarrisThreeHundredTangPoems独立编著NewYork:AlfredA.Knopf2009Birds,Beasts,andSeas-NatureNewYork:NewDirections47JeffreyYang编著2011PoemsfromNewDirectionsPublishingCorporationHongzhanZhao&ASelectionofthePrimeTangBloomington：Xlibris48合作编著2011YueWangPoemsCorporation______________________________________________________________________________________________ 西南科技大学硕士研究生学位论文第80页AppendixII:OriginalChineseQuestionnaire王维诗歌英译本比较调查问卷各位亲爱的老师、同学：您好！我是西南科技大学的一名硕士研究生，目前进行王维诗歌在美英译研究，为从读者反应批评角度了解读者对王维诗不同英译版本的喜好，并对不同进行对比分析，特进行此问卷调查。本次调查大约需要占用您5分钟时间，本问卷采取匿名方式，保证您所提供的信息绝对的保密。您所提供的答案不存在对错之分，请您尽量根据自身的实际情况回答所有问题。除特殊说明外，本调查问卷均为单选题。非常感谢您的参与。1.性别□男□女2.年龄□<20□20-29□30-39□≥403.国籍□中国□美国□英国□其他国家或地区________________(请列出)4.您的学位□博士学位□硕士学位□学士学位□无5.您目前是□本科生□硕士研究生□英语教师□其他6.您所学专业为□英语及相关专业□对外汉语□汉语言文学□其他7.您学习英语的时间□≥20年□15-19年□10-14年□≤9年8.您是否喜欢唐诗□是□否9.提起唐诗，您脑海里首先想起的唐代诗人是_____________10.您是否听说或了解过王维□是□否11.您对王维的五言绝句诗《鹿柴》是否有印象□是□否12.以下是王维《鹿柴》的原诗及其六个英译本1鹿柴空山不见人，1《鹿柴》是唐代诗人王维隐居辋川时的作品。鹿柴（zhài），是辋川的地名。______________________________________________________________________________________________ 西南科技大学硕士研究生学位论文第81页但闻人语响。返景入深林，复照青苔上。您读完此诗的第一感受为（请用一两个词概括）Version1Version2DeerForestHermitageThroughthedeepwood,theslantingsunlightOntheemptymountainsnoonecanbeseen,Castsmotleypatternsonthejade-greenmosses.Buthumanvoicesareheardtoresound.Noglimpseofmaninthislonelymountain,ThereflectedsunlightpiercesthedeepforestYetfaintvoicesdriftontheair.Andfallsagainuponthemossyground.Version3Version4DeepintheMountainWildernessDeepinthemountainwildernessDeerFenceWherenobodyevercomesEmptyhills,nooneinsight,Onlyonceinagreatwhileonlythesoundofsomeonetalking;Somethinglikethesoundofafaroffvoice.latesunlightentersthedeepwood,Thelowraysofthesunshiningoverthegreenmossagain.Slipthroughthedarkforest,Andgleamagainontheshadowymoss.Version6TheDeerEnclosureVersion5Remotethemountain,wherenooneisseen,IseenooneinmountainsdeepThoughhumanvoicesresound.Buthearavoiceintheravine.Atdusk,reflectedsunlightenterstheforestThroughthedensewoodthesunbeamspeepdeep,Andarereflectedonmossesgreen.Onceagainsettingthegreenmossaglow.1）您最喜欢以上哪个译文？□译文1□译文2□译文3□译文4□译文5□译文62)为什么？（多选）□忠实原诗内容□较好呈现原诗意境□音美□韵律美□形式美□意象美□用词准确、精炼□形式自由□译者发挥主观能动性对原诗进行改写其他原因：__________________________________________________问卷调查结束，感谢您的帮助！______________________________________________________________________________________________ 西南科技大学硕士研究生学位论文第82页AppendixIII:OriginalEnglishQuestionnaireAQuestionnaireonComparisonofVersionsofWangWei’sPoemsYourresponsetothisquestionnairewillcontributetoourunderstandingofreaders‟preferencefordifferenttranslationversionsofpoemsofWangWei--apoetintheT’angDynasty,andtoevaluationsofdifferenttranslationversions.Thankyouforyourcooperation.Unlessspecifiedotherwise,pleasecheck√ONLYONEanswerforthequestions.Part1:Background1.Sex□male□femaleAge□<20□20-29□30-39□≥403.Nationality□USA□UK□Othercountriesandregions____（writeitout）4.Youreducationbackground□Doctor‟sDegree□Master‟sDegree□Bachelor‟sDegree□Others5.Youare□anundergraduate□apostgraduate□acollegeEnglishteacher□Others6.Yourmajor□Chineserelated□Englishrelated□Othermajors（writeitout）7.HowlonghaveyoulearnedEnglish?□≥20years□15-19years□10-14years□≤9years8.HaveyoulearnedChinese?□Yes□No(pleasegotoQ.10)9.HowlonghaveyoulearnedChinese?□1-5years□6-10years□>10years□never10.Areyouinterestedinpoetry?□Yes□No11.HaveyoueverreadorheardofthepoetryoftheT‟angDynastyinChina?□Yes□No(pleasegotoPart2)12.WhichofthefollowingpoetsintheT‟angDynastyhaveyoueverheardof?(chooseoneormore)□LiPo(李白)□TuFu（杜甫）□PoChu-I（白居易）□WangWei（王维）□HanShan(寒山)□SuTungpo（苏东坡）Part2:EvaluationofTranslationVersionsofthesameChineseT’angPoemFollowingsaresixdifferenttranslationversionsofonepoemofWangWei,apoetintheT‟angDynastyofChina1OriginalVersion鹿柴空山不见人，1ThispoemiswrittenduringthetimewhenWangWeiwassecludedinWangchuan,whichnowbelongstoShan‟xiProvinceofChina.“鹿柴”isaplaceofWangchuang“鹿”meansdeerand“柴”equalsfenceinancientChinese. 西南科技大学硕士研究生学位论文第83页但闻人语响。返影入深林，复照青苔上。Version1Version2DeerForestHermitageOntheemptymountainsnoonecanbeseen,Throughthedeepwood,theslantingsunlightButhumanvoicesareheardtoresound.Castsmotleypatternsonthejade-greenmosses.ThereflectedsunlightpiercesthedeepforestNoglimpseofmaninthislonelymountain,Andfallsagainuponthemossyground.YetfaintvoicesdriftontheairVersion3Version4DeepintheMountainWildernessDeerFenceDeepinthemountainwildernessEmptyhills,nooneinsight,Wherenobodyevercomesonlythesoundofsomeonetalking;Onlyonceinagreatwhilelatesunlightentersthedeepwood,Somethinglikethesoundofafaroffvoice.shiningoverthegreenmossagain.ThelowraysofthesunSlipthroughthedarkforest,Version6Andgleamagainontheshadowymoss.TheDeerEnclosureVersion5Remotethemountain,wherenooneisseen,IseenooneinmountainsdeepThoughhumanvoicesresound.Buthearavoiceintheravine.Atdusk,reflectedsunlightenterstheforestThroughthedensewoodthesunbeamspeepdeep,Andarereflectedonmossesgreen.Onceagainsettingthegreenmossaglow.1.Thefirstimpressionyougotfromthepoemafterreadingitis___________________(pleaseusenomorethantenwordstodescribe)2.Yourevaluationofthewordsorexpressionsusedintheseversions.(Pleaseusetwoorthreewordstodescribe)3.Whichversiondoyoulikebest?□Version1□Version2□Version3□Version4□Version5□Version64.Whydoyoulikeitbest?(chooseoneormore)□befaithfultotheoriginal(忠实原诗内容)□Goodnessinsound(音美)□betterreproductionofartisticconception(意境再现)□Goodnessinrhythm(韵律美)□Goodnessinform(形式美)□Goodnessinimage(意象美)□AppropriatenessandCompactnessinwordschoice(用词准确)Otherreasonsinyouropinions____________________________________________Thankyouforyourhelp！ 西南科技大学硕士研究生学位论文第84页TheAuthor’sRecentPublicationsandResearchInvolved1.刘兰，徐宜华.接受美学述评[J].海外英语，2013（09）2.徐宜华，廖志勤.从王维鹿柴三个英译文本看翻译审美再现[J].西南科技大学学报：哲学社会科学版，2014（08）3.主持西南科技大学研究生创新基金项目“美国中国古诗翻译第二次浪潮中王维诗歌英译研究”（项目编号13ycjj60），并获结题证书；4.参研四川省教育厅人文社会科学重点研究基地——四川外国语言文学研究中心外语教育项目“综合院校体育英语专业创新人才培养模式研究”（学校项目编号14sd0148,中心项目编号SCWYH14-17)；5.参研研究生创新基金项目“从互文性角度论《诗经·国风》的英译”（项目编号14ycxjj0100)；
此文档下载收益归作者所有
