Aesth App EN 4 - Revision history

Zhou Qiao1: /* 2.3Aesthetic Theory of Translation */

2021-12-14T14:43:36Z

2.3Aesthetic Theory of Translation

Zhou Qiao1: /* 2.3Aesthetic Theory of Translation */

2021-12-14T14:42:49Z

2.3Aesthetic Theory of Translation

Zhou Qiao1: /* 2.1Aesthetic origins of translation */

2021-12-14T14:33:06Z

2.1Aesthetic origins of translation

Zhou Qiao1: /* 1.4Research Methodology */

2021-12-14T14:25:14Z

1.4Research Methodology

Zhou Qiao1: /* 1.3Prior Research */

2021-12-14T14:18:42Z

1.3Prior Research

Zhou Qiao1: /* 1.1Background of the study */

2021-12-14T14:09:31Z

1.1Background of the study

Wu Yinghong: /* 5.References */

2021-12-13T11:39:16Z

5.References

Wu Yinghong: /* 2.2Definition of Aesthetics of Translation */

2021-12-13T11:38:07Z

2.2Definition of Aesthetics of Translation

Wu Yinghong: /* 2.1Aesthetic origins of translation */

2021-12-13T11:37:12Z

2.1Aesthetic origins of translation

Wu Yinghong: /* 2.3Aesthetic Theory of Translation */

2021-12-13T11:33:23Z

2.3Aesthetic Theory of Translation

@@ Line 55: / Line 55: @@
 In aesthetics, the "aesthetic subject" refers to the aesthetic person, while the "aesthetic body" refers to the object that directly accepts the aesthetic subject for aesthetic activities, that is, the aesthetic object of the aesthetic subject. Aesthetic subject and aesthetic object in the category of aesthetics is the unity of opposites, interdependent dialectical relationship. Without the aesthetic object, there is no such thing as the aesthetic subject, and similarly, without the aesthetic subject, there will not be an aesthetic object. Therefore, Liu Miqing believes that in the practical activity of translation, the aesthetic subject should refer to the translator who has aesthetic needs, aesthetic psychological mechanism and undertakes aesthetic activities, while the aesthetic object refers to the original language text and the translated language text which have aesthetic value and can cause aesthetic psychological production. In translation aesthetics, the translator and the original text and the translated text, and the translator and the translation practice activities are also inseparable relationships.
-In the second line, ''an'' or ''the''  should be placed before aesthetic subject. ''is the unity of'', ''is'' should be changed into ''are''.
+In the second line, ''an'' or ''the''  should be placed before aesthetic subject. ''is the unity of'', ''is'' should be changed into ''are''.--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 14:43, 14 December 2021 (UTC)
 According to Liu Miqing, when performing translation activities, the aesthetic subject has to reproduce or create the aesthetic information of the original language on the basis of understanding and appreciating its aesthetic qualities. Therefore, the translation aesthetic subject (translator) has two basic attributes, one is subject to the aesthetic object, and the other is the subjective initiative of the translator. In the translation aesthetic activity, it is difficult to achieve the complete equivalence of aesthetic information between the original text and the translated text, because the translator will be constrained by objective factors such as the translatability limit of formal and non-formal beauty of the original language, the cultural difference of bilingualism and the time and space difference of art appreciation, etc. However, the translator can exert his subjective initiative in the process of translation to reduce the constraints of the above objective factors, and the exertion of the translator's subjective initiative depends on whether the translator Whether the translator has the aesthetic conditions such as "emotion", "knowledge", "o" and "will". The so-called "emotion" refers to the aesthetic emotion, including the emotional connotation of the aesthetic object and the emotional induction of the aesthetic subject, which is the beginning of the aesthetic, and the aesthetic emotion is always the center of the aesthetic mental activity. The aesthetic emotion of the aesthetic subject determines that each translation will, to a certain extent, leave the translator's own heart and talent, making the translation aesthetically personalized. "Knowledge" refers to the knowledge reserve, insight, insight and vision of the aesthetic subject, and "knowledge" determines to a large extent the judgment of the aesthetic subject on the value of the aesthetic object. "Talent" refers to the aesthetic ability of the aesthetic subject, including the ability to analyze language, syntactic structure, aesthetic judgment, etc. The "will" refers to the perseverance of learning, which is also the quality and spiritual power required by the translator to achieve the desired artistic realm. "Only when the translator has all four of them, he can maximize his subjective ability. Only when the translator has all four, can he or she give full play to his or her subjective initiative and make the translation closer to the aesthetic message of the original, or even higher than the original.

@@ Line 54: / Line 54: @@
 ==2.3Aesthetic Theory of Translation==
 In aesthetics, the "aesthetic subject" refers to the aesthetic person, while the "aesthetic body" refers to the object that directly accepts the aesthetic subject for aesthetic activities, that is, the aesthetic object of the aesthetic subject. Aesthetic subject and aesthetic object in the category of aesthetics is the unity of opposites, interdependent dialectical relationship. Without the aesthetic object, there is no such thing as the aesthetic subject, and similarly, without the aesthetic subject, there will not be an aesthetic object. Therefore, Liu Miqing believes that in the practical activity of translation, the aesthetic subject should refer to the translator who has aesthetic needs, aesthetic psychological mechanism and undertakes aesthetic activities, while the aesthetic object refers to the original language text and the translated language text which have aesthetic value and can cause aesthetic psychological production. In translation aesthetics, the translator and the original text and the translated text, and the translator and the translation practice activities are also inseparable relationships.
 According to Liu Miqing, when performing translation activities, the aesthetic subject has to reproduce or create the aesthetic information of the original language on the basis of understanding and appreciating its aesthetic qualities. Therefore, the translation aesthetic subject (translator) has two basic attributes, one is subject to the aesthetic object, and the other is the subjective initiative of the translator. In the translation aesthetic activity, it is difficult to achieve the complete equivalence of aesthetic information between the original text and the translated text, because the translator will be constrained by objective factors such as the translatability limit of formal and non-formal beauty of the original language, the cultural difference of bilingualism and the time and space difference of art appreciation, etc. However, the translator can exert his subjective initiative in the process of translation to reduce the constraints of the above objective factors, and the exertion of the translator's subjective initiative depends on whether the translator Whether the translator has the aesthetic conditions such as "emotion", "knowledge", "o" and "will". The so-called "emotion" refers to the aesthetic emotion, including the emotional connotation of the aesthetic object and the emotional induction of the aesthetic subject, which is the beginning of the aesthetic, and the aesthetic emotion is always the center of the aesthetic mental activity. The aesthetic emotion of the aesthetic subject determines that each translation will, to a certain extent, leave the translator's own heart and talent, making the translation aesthetically personalized. "Knowledge" refers to the knowledge reserve, insight, insight and vision of the aesthetic subject, and "knowledge" determines to a large extent the judgment of the aesthetic subject on the value of the aesthetic object. "Talent" refers to the aesthetic ability of the aesthetic subject, including the ability to analyze language, syntactic structure, aesthetic judgment, etc. The "will" refers to the perseverance of learning, which is also the quality and spiritual power required by the translator to achieve the desired artistic realm. "Only when the translator has all four of them, he can maximize his subjective ability. Only when the translator has all four, can he or she give full play to his or her subjective initiative and make the translation closer to the aesthetic message of the original, or even higher than the original.

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 ==2.1Aesthetic origins of translation==
 Translation is the activity of expressing the information carried by one language in another language. Each language has its own characteristics, and its connotation and extension are influenced by different living environments and cultural backgrounds. Chinese scriptures, history, poetry, calligraphy and painting are actually all directly or indirectly recounting, copying, interpreting, exploring and developing the eternal beauty of nature, life, human nature, personality and spiritual temperament. (Liu Miqing, 1994) Based on the linguistic and expressive characteristics of the Chinese language, Chinese translation and aesthetics have a natural connection. And the formalization of translation and aesthetics as a field of translation studies began in the 1990s. In the Chinese translation field, the first person who combined translation and aesthetics in a more systematic way was Xi Yongji, and A Comparative Study of Translation Aesthetics was the first study on translation aesthetics in China. Since the 1980s, Western translation theories have occupied a very important position in Chinese translation circles, and new theoretical terms and research methods have dazzled researchers. Western-style logical and discursive research has entered all fields of scientific research, while the traditional Chinese method of empirical perception is considered unscientific and unsystematic. However, Mr. Xi Yongji still thinks calmly, not in the Western way of logical thinking, but in the way of empirical perception of Chinese culture, and tries to open up a new way for translation research from the perspective of traditional Chinese aesthetics, so that the traditional Chinese translation theory, which is self-contained, can be connected by a link, and this link is translation aesthetics. In his work, Mr. Xi discusses the aesthetic factors in literary translation from three aspects: linguistic beauty, imaginative beauty and stylistic beauty. It brings inspiration to the researchers who come after him in terms of translation research methods.
 ]Wang Xiaoyang王笑阳.《雪国》研究的中日比较A comparison between China and Japan in the study of "Snow Country[D].上海交通大学Shanghai Jiao Tong University,2018.

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 ==1.4Research Methodology==
 Based on the theoretical basis of translation aesthetics, this thesis adopts the research methods of textual analysis and comparative analysis to explore the aesthetic message of The Land of Snow and the aesthetic reproduction of the Chinese translation. This thesis uses the method of textual analysis in Chapter 3 to analyze the aesthetic value of the original Snow Country. In Chapters 4 and 5, the thesis uses a combination of textual and comparative analyses to analyze the aesthetic information contained in the text and the aesthetic reproduction of the translation from the original Snow Country and the translations by Ye Wei Qu, Gao Hui qin, and Lin Shao Hua at various levels of the formal system (phonetics, diction, rhetorical patterns, and style) and the non-formal system (emotion and will, meaning and imagery).
 ===2.on the aesthetics of translation===
 ==2.1Aesthetic origins of translation==
 Translation is the activity of expressing the information carried by one language in another language. Each language has its own characteristics, and its connotation and extension are influenced by different living environments and cultural backgrounds. Chinese scriptures, history, poetry, calligraphy and painting are actually all directly or indirectly recounting, copying, interpreting, exploring and developing the eternal beauty of nature, life, human nature, personality and spiritual temperament. (Liu Miqing, 1994) Based on the linguistic and expressive characteristics of the Chinese language, Chinese translation and aesthetics have a natural connection. And the formalization of translation and aesthetics as a field of translation studies began in the 1990s. In the Chinese translation field, the first person who combined translation and aesthetics in a more systematic way was Xi Yongji, and A Comparative Study of Translation Aesthetics was the first study on translation aesthetics in China. Since the 1980s, Western translation theories have occupied a very important position in Chinese translation circles, and new theoretical terms and research methods have dazzled researchers. Western-style logical and discursive research has entered all fields of scientific research, while the traditional Chinese method of empirical perception is considered unscientific and unsystematic. However, Mr. Xi Yongji still thinks calmly, not in the Western way of logical thinking, but in the way of empirical perception of Chinese culture, and tries to open up a new way for translation research from the perspective of traditional Chinese aesthetics, so that the traditional Chinese translation theory, which is self-contained, can be connected by a link, and this link is translation aesthetics. In his work, Mr. Xi discusses the aesthetic factors in literary translation from three aspects: linguistic beauty, imaginative beauty and stylistic beauty. It brings inspiration to the researchers who come after him in terms of translation research methods.

← Older revision		Revision as of 14:18, 14 December 2021
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	Kawabata Yasunari's "Snow Country" is a treasure trove of translation studies, and since the appearance of Seidenstetka's English translation in 1956, numerous critiques and studies have been published, including comments by the translator himself. Since the English translation appeared in 1956, many critiques and studies have been published, including comments by the translators themselves. For example, compared to the translations of Akutagawa Ryunosuke's works, which are second to none in terms of the number of languages and the speed at which they were translated, the number of research documents is clearly greater. The reason for this can be found in the peculiarity of the writing style of "Snow Country. Kawabata's sensuous Japanese, in which he pushes the limits of the possible by using the traditional style of Japanese classics and the European context of the new sensibility school, is extremely difficult to transfer to other languages compared to Akutagawa's intellectual style. It may be said that the poetic nature of "Snow Country," which even raises the question of whether it is a novel at all,2 makes translation difficult and illuminates various problems associated with translation.		Kawabata Yasunari's "Snow Country" is a treasure trove of translation studies, and since the appearance of Seidenstetka's English translation in 1956, numerous critiques and studies have been published, including comments by the translator himself. Since the English translation appeared in 1956, many critiques and studies have been published, including comments by the translators themselves. For example, compared to the translations of Akutagawa Ryunosuke's works, which are second to none in terms of the number of languages and the speed at which they were translated, the number of research documents is clearly greater. The reason for this can be found in the peculiarity of the writing style of "Snow Country. Kawabata's sensuous Japanese, in which he pushes the limits of the possible by using the traditional style of Japanese classics and the European context of the new sensibility school, is extremely difficult to transfer to other languages compared to Akutagawa's intellectual style. It may be said that the poetic nature of "Snow Country," which even raises the question of whether it is a novel at all,2 makes translation difficult and illuminates various problems associated with translation.

		+	In the fifth line, Snow Country are supposed to be added with double quotation marks. In the last sentence, 2 is unnecessary .--[[User:Zhou Qiao1\|Zhou Qiao1]] ([[User talk:Zhou Qiao1\|talk]]) 14:18, 14 December 2021 (UTC)

	==1.4Research Methodology==		==1.4Research Methodology==

← Older revision		Revision as of 14:09, 14 December 2021
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	Kawabata Yasunari's "Snow Country" is a treasure trove of translation studies, and since the appearance of Seidenstetka's English translation in 1956, numerous critiques and studies have been published, including comments by the translator himself. Since the English translation appeared in 1956, many critiques and studies have been published, including comments by the translators themselves. For example, compared to the translations of Akutagawa Ryunosuke's works, which are second to none in terms of the number of languages and the speed at which they were translated, the number of research documents is clearly greater. The reason for this can be found in the peculiarity of the writing style of "Snow Country. Kawabata's sensuous Japanese, in which he pushes the limits of the possible by using the traditional style of Japanese classics and the European context of the new sensibility school, is extremely difficult to transfer to other languages compared to Akutagawa's intellectual style. It may be said that the poetic nature of "Snow Country," which even raises the question of whether it is a novel at all,makes translation difficult and illuminates various problems associated with translation.		Kawabata Yasunari's "Snow Country" is a treasure trove of translation studies, and since the appearance of Seidenstetka's English translation in 1956, numerous critiques and studies have been published, including comments by the translator himself. Since the English translation appeared in 1956, many critiques and studies have been published, including comments by the translators themselves. For example, compared to the translations of Akutagawa Ryunosuke's works, which are second to none in terms of the number of languages and the speed at which they were translated, the number of research documents is clearly greater. The reason for this can be found in the peculiarity of the writing style of "Snow Country. Kawabata's sensuous Japanese, in which he pushes the limits of the possible by using the traditional style of Japanese classics and the European context of the new sensibility school, is extremely difficult to transfer to other languages compared to Akutagawa's intellectual style. It may be said that the poetic nature of "Snow Country," which even raises the question of whether it is a novel at all,makes translation difficult and illuminates various problems associated with translation.

		+	In the last third lines, transfer should changed to translate--[[User:Zhou Qiao1\|Zhou Qiao1]] ([[User talk:Zhou Qiao1\|talk]]) 14:09, 14 December 2021 (UTC)

	==1.2Purpose and significance of the study==		==1.2Purpose and significance of the study==

← Older revision		Revision as of 11:39, 13 December 2021
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	[6]Liu Xiaoying刘晓颖.日本文学中的异文化翻译方式探析An Exploration of Cross-Cultural Translation Approaches in Japanese Literature[J].科教文汇(上旬刊)Science and Education,2018(05):175-176.		[6]Liu Xiaoying刘晓颖.日本文学中的异文化翻译方式探析An Exploration of Cross-Cultural Translation Approaches in Japanese Literature[J].科教文汇(上旬刊)Science and Education,2018(05):175-176.
		+
	[7]Wang Nan王楠.基于纽马克翻译理论的日语拟态词翻译——以《雪国》的中译本为例Translation of Japanese Mimetic Words Based on Newmark's Translation Theory - A Chinese Translation of Snow Country as an Example[J].北方文学Northern Literature,2018(36):231.		[7]Wang Nan王楠.基于纽马克翻译理论的日语拟态词翻译——以《雪国》的中译本为例Translation of Japanese Mimetic Words Based on Newmark's Translation Theory - A Chinese Translation of Snow Country as an Example[J].北方文学Northern Literature,2018(36):231.

← Older revision		Revision as of 11:37, 13 December 2021
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	Translation is the activity of expressing the information carried by one language in another language. Each language has its own characteristics, and its connotation and extension are influenced by different living environments and cultural backgrounds. Chinese scriptures, history, poetry, calligraphy and painting are actually all directly or indirectly recounting, copying, interpreting, exploring and developing the eternal beauty of nature, life, human nature, personality and spiritual temperament. (Liu Miqing, 1994) Based on the linguistic and expressive characteristics of the Chinese language, Chinese translation and aesthetics have a natural connection. And the formalization of translation and aesthetics as a field of translation studies began in the 1990s. In the Chinese translation field, the first person who combined translation and aesthetics in a more systematic way was Xi Yongji, and A Comparative Study of Translation Aesthetics was the first study on translation aesthetics in China. Since the 1980s, Western translation theories have occupied a very important position in Chinese translation circles, and new theoretical terms and research methods have dazzled researchers. Western-style logical and discursive research has entered all fields of scientific research, while the traditional Chinese method of empirical perception is considered unscientific and unsystematic. However, Mr. Xi Yongji still thinks calmly, not in the Western way of logical thinking, but in the way of empirical perception of Chinese culture, and tries to open up a new way for translation research from the perspective of traditional Chinese aesthetics, so that the traditional Chinese translation theory, which is self-contained, can be connected by a link, and this link is translation aesthetics. In his work, Mr. Xi discusses the aesthetic factors in literary translation from three aspects: linguistic beauty, imaginative beauty and stylistic beauty. It brings inspiration to the researchers who come after him in terms of translation research methods.		Translation is the activity of expressing the information carried by one language in another language. Each language has its own characteristics, and its connotation and extension are influenced by different living environments and cultural backgrounds. Chinese scriptures, history, poetry, calligraphy and painting are actually all directly or indirectly recounting, copying, interpreting, exploring and developing the eternal beauty of nature, life, human nature, personality and spiritual temperament. (Liu Miqing, 1994) Based on the linguistic and expressive characteristics of the Chinese language, Chinese translation and aesthetics have a natural connection. And the formalization of translation and aesthetics as a field of translation studies began in the 1990s. In the Chinese translation field, the first person who combined translation and aesthetics in a more systematic way was Xi Yongji, and A Comparative Study of Translation Aesthetics was the first study on translation aesthetics in China. Since the 1980s, Western translation theories have occupied a very important position in Chinese translation circles, and new theoretical terms and research methods have dazzled researchers. Western-style logical and discursive research has entered all fields of scientific research, while the traditional Chinese method of empirical perception is considered unscientific and unsystematic. However, Mr. Xi Yongji still thinks calmly, not in the Western way of logical thinking, but in the way of empirical perception of Chinese culture, and tries to open up a new way for translation research from the perspective of traditional Chinese aesthetics, so that the traditional Chinese translation theory, which is self-contained, can be connected by a link, and this link is translation aesthetics. In his work, Mr. Xi discusses the aesthetic factors in literary translation from three aspects: linguistic beauty, imaginative beauty and stylistic beauty. It brings inspiration to the researchers who come after him in terms of translation research methods.

		+	]Wang Xiaoyang王笑阳.《雪国》研究的中日比较A comparison between China and Japan in the study of "Snow Country[D].上海交通大学Shanghai Jiao Tong University,2018.

	==2.2Definition of Aesthetics of Translation==		==2.2Definition of Aesthetics of Translation==

@@ Line 47: / Line 47: @@
 According to Liu Miqing, when performing translation activities, the aesthetic subject has to reproduce or create the aesthetic information of the original language on the basis of understanding and appreciating its aesthetic qualities. Therefore, the translation aesthetic subject (translator) has two basic attributes, one is subject to the aesthetic object, and the other is the subjective initiative of the translator. In the translation aesthetic activity, it is difficult to achieve the complete equivalence of aesthetic information between the original text and the translated text, because the translator will be constrained by objective factors such as the translatability limit of formal and non-formal beauty of the original language, the cultural difference of bilingualism and the time and space difference of art appreciation, etc. However, the translator can exert his subjective initiative in the process of translation to reduce the constraints of the above objective factors, and the exertion of the translator's subjective initiative depends on whether the translator Whether the translator has the aesthetic conditions such as "emotion", "knowledge", "o" and "will". The so-called "emotion" refers to the aesthetic emotion, including the emotional connotation of the aesthetic object and the emotional induction of the aesthetic subject, which is the beginning of the aesthetic, and the aesthetic emotion is always the center of the aesthetic mental activity. The aesthetic emotion of the aesthetic subject determines that each translation will, to a certain extent, leave the translator's own heart and talent, making the translation aesthetically personalized. "Knowledge" refers to the knowledge reserve, insight, insight and vision of the aesthetic subject, and "knowledge" determines to a large extent the judgment of the aesthetic subject on the value of the aesthetic object. "Talent" refers to the aesthetic ability of the aesthetic subject, including the ability to analyze language, syntactic structure, aesthetic judgment, etc. The "will" refers to the perseverance of learning, which is also the quality and spiritual power required by the translator to achieve the desired artistic realm. "Only when the translator has all four of them, he can maximize his subjective ability. Only when the translator has all four, can he or she give full play to his or her subjective initiative and make the translation closer to the aesthetic message of the original, or even higher than the original.
-Liu Xiaoying刘晓颖.日本文学中的异文化翻译方式探析An Exploration of Cross-Cultural Translation Approaches in Japanese Literature[J].科教文汇(上旬刊)Science and Education,2018(05):175-176.DOI:10.16871/j.cnki.kjwha.2018.05.079.
+Liu Xiaoying刘晓颖.日本文学中的异文化翻译方式探析An Exploration of Cross-Cultural Translation Approaches in Japanese Literature[J].科教文汇(上旬刊)Science and Education,2018(05):175-176.
 ===3 The Land of Snow and its Chinese translation===