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=吴映红：Appreciation of poetry translation in the cross-culture background= | =吴映红：Appreciation of poetry translation in the cross-culture background= | ||
[[Aesth_App_EN_4]] | [[Aesth_App_EN_4]] | ||
| + | ===Abstract=== | ||
| + | Snow Country, as a representative work of Yasunari Kawabata is characterized by its concise and unique language, delicate strokes and profound artistic conception. Snow Country contains a lot of Japanese national culture and traditional Japanese aesthetic consciousness, also embraces rich aesthetic information and high aesthetic value.And its Chinese translation has always attracted much attention from the translation studies. On the basis of clarifying the subject-object properties and relationships, contemporary translation aesthetics explores the types, means and standards of aesthetic representation in translation to guide translation practice. In previous studies, many literatures have demonstrated that translation aesthetics plays a guiding role in Chinese-english and other languages, but few studies have been conducted on Chinese-japanese translation. | ||
| + | ===Key words=== | ||
| + | Keywords translation aesthetics, Snow Country, aesthetic information, aesthetic representation | ||
| + | ===Chapter 1 Inteoduction=== | ||
| + | ===1.1 Background of the study=== | ||
| + | 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. | ||
| + | |||
| + | |||
| + | ===1.2 Purpose and significance of the study=== | ||
| + | Based on the theory of translation aesthetics, this study not only meets the interdisciplinary requirements of translation science and can broaden the perspective of the study of the Chinese translation of Snow Country, but also demonstrates the effective interpretative power of translation aesthetics in the translation of novels by analyzing the degree of aesthetic reproduction of different Chinese translations, explores the feasibility of applying translation aesthetics to literary translation, and affirms the practical guidance significance of translation aesthetics in Japanese-Chinese translation. As the exchanges between China and Japan in the fields of politics, economy and culture become deeper and deeper, new translations of famous Japanese works represented by "Snow Country" will be released continuously, and the comparative study among translations will help improve and enhance the translation and interpretation of Japanese literary works in China, which will have certain positive significance for the study of Japanese literature by Chinese scholars. This thesis also attempts to find ways and techniques to reproduce the aesthetic value of the original texts in the translations, which also provides a definite reference value for Chinese translators to translate Chinese literary works. | ||
| + | |||
| + | |||
| + | ===1.3 Prior Research=== | ||
| + | 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. | ||
| + | |||
| + | |||
| + | ===1.4 Research 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). | ||
| + | |||
| + | ===Chapter 2 on the aesthetics of translation=== | ||
| + | ===2.1 Aesthetic 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. | ||
| + | |||
| + | |||
| + | ===2.2 Definition of Aesthetics of Translation=== | ||
| + | In 1995, Mr. Liu Miqing's book, Introduction to the Aesthetics of Translation, was published in Taiwan. Through argumentative analysis, this work reveals the aesthetic origin of translation studies, analyzes the natural connection between translation aesthetics and Chinese language and writing, and puts forward the basic theoretical framework for constructing translation aesthetics. Professor Mao Ronggui's book Aesthetics of Translation, which was released in 2005, is divided into four main parts: the main part, the questioning beauty part, the hazy part, and the practice part. Just like the novel layout of this book, the contents of the article sweep away the obscure and incomprehensible style of research-oriented text, and the language is sometimes timeless, sometimes witty, sometimes thought-provoking, sometimes unbearable, so that people can really feel the beauty of language while understanding and studying the theory of translation. This work proposes that the ambiguity of language and the aesthetics of translation can be studied together, which was rarely mentioned among domestic scholars at that time and opened up new ideas for translation research. He believes that the study of linguistic ambiguity and how to compensate for it in translation is an inseparable topic in translation studies, and as far as linguistic ambiguity is concerned, Chinese is more so than English. Therefore, Chinese translation theory cannot lack the study of linguistic ambiguity and its compensation mechanism in translation. | ||
| − | === | + | ===2.3 Aesthetic 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. | ||
| + | ===Chapter 3 The Land of Snow and its Chinese translation=== | ||
| + | ===3.1 Yasunari Kawabata and The Land of Snow=== | ||
| + | Kawabata Yasunari (かわばた やすなり) was a famous Japanese novelist of the New Sensation school, born in Osaka on June 14, 1899. His parents died at an early age, and his sister and grandparents died one after another, so he was known as a "celebrity who attended funerals. His life was full of travels, and his mood was bitter and melancholy, and he gradually developed a sentimental and lonely character, which became a deep shadow of Kawabata Yasunari's literature. While studying at the University of Tokyo, he participated in the reprinting of the magazine Shinsei no 6. He graduated in 1924. In the same year, he and Toshiichi Yokomitsu published the magazine "No Generation," and later became one of the central figures of the New Sensation School that was born from it. After the decline of the New Sensation School, he joined the Emerging Art School and the New Psychology literary movement, and wrote more than 100 novels in his lifetime, more short stories than long ones. His works are lyrical, pursuing the beauty of life's sublimity, and deeply influenced by Buddhist thought and nihilism. In the early period, he mostly used lower-class women as the main characters of his novels, writing about their purity and misfortune. Some of his later works are about the perverted psychology of love between close relatives and even the elderly, with a pure and natural approach. | ||
| + | The idea of nothingness in Snow Country is deeply permeated by the classical Japanese literary tradition, and is an "Eastern-style" nothingness. Although Kawabata Yasunari, when he first entered the literary world, was dissatisfied with the status quo of the literary world, he and Yokomitsu Riichi launched the "New Sensation Movement", which attempted to create a new sensory world with Dadaism, Expressionism and other Western modernist techniques, and did not pay attention to the Japanese literary tradition, and once "tried to deny it and exclude it. " However, in his middle age, Kawabata found that he "had not experienced the grief and distress of the Western way, nor had I seen the emptiness and decadence of the Western way in Japan. He began to draw closer to tradition. When writing Snow Country, he had to seek inspiration from traditional Japanese culture in order to write about the beauty that does not exist in this world. | ||
| + | Kawabata Yasunari began to read classical Japanese literature as a teenager. Most of these works are imbued with Buddhist ideas of impermanence. The scene of Yoko's fall from the stairs is beautifully depicted at the end of The Land of Snow: "As he [Shimamura] stood upright on his heels, he looked up and the Milky Way seemed to pour down on Shimamura's heart with a crash." "The rigid body fell from the air, appearing soft, but the pose, like a puppet without struggle, without life, unrestrained, seemed beyond life and death." The author's description of death gives the impression that for the author, death is the end of happiness, and after death, like everything in nature, people return to nothingness and reach the realm where all things are as they are. This is exactly how Yasunari Kawabata himself perceives death. | ||
| + | "This idea of emptiness of Yasunari Kawabata, who "expresses the essence of the Japanese mind with his excellent sensibility and skillful fiction", is in line with his life experience since childhood and the Buddhist philosophy of impermanence in Japanese classical literature. The influence of the Buddhist tradition of impermanence in classical literature on his inner world is related to the Zen Buddhist belief that "the bodhisattva is a person who is not a person. According to Zen Buddhism, "There is no tree for the bodhi, and no platform for the mirror. There is no such thing as a bodhi, and there is no such thing as dust." This is similar to the idea of nothingness that Yasunari Kawabata wants to express in Snow Country, that life is impermanent, that everything is empty, that I am extinguished as nothing, and that something is created out of nothing. | ||
| + | |||
| + | ===3.2 The aesthetic value of The Land of Snow=== | ||
| + | Snow Country is the story of a love affair between Shimamura, Komako, Yoko and Gyoko. Shimamura, a pampered man with a wife and children living in Tokyo, meets and is attracted to Komako, a geisha, when he goes to Snow Country for a relaxing break during a spring festival. Komako is deeply in love with Shimamura, but Shimamura sees her love as a beautiful and futile endeavor. On the second train to Yukiguni, Shimamura meets Yoko and falls in love with her beauty, but Yoko is taking good care of Gyuo, a patient in her arms. Gyoko is the son of Komako's benefactor and is said to be Komako's fiancé. Although Komako does not love Gyoko, she is willing to become a Geisha in order to raise money for Gyoko's medical treatment. Komako's beauty, youthful vigor, purity and optimism make Shimamura feel the vitality of life and save his empty heart; Yoko's coldness, emptiness and pure purity also attract Shimamura deeply and make him fall into endless unrequited love. At the end of the novel, Yoko dies in a fire, as if everything has returned to peace. | ||
| + | Although the storyline of "Snow Country" is relatively simple, Kawabata's traditional Japanese beauty of nature, emptiness and sadness embodied in his work is heart-stopping. When Kawabata was awarded the Nobel Prize for Literature, the jury made special mention of the work Snow Country, making Snow Country also enjoy a certain international popularity and becoming Kawabata's most translated work overseas. | ||
| + | |||
| + | Snow Country is a literary work of Japanese national character, rich in traditional Japanese beauty, and also embodies the traditional aesthetic sense of the Japanese nation, which has a high aesthetic value. Grasping the aesthetic value of Snow Country as a whole from a macro perspective will help translators choose precise words and appropriate translation methods to improve their translations. | ||
| + | |||
| + | ===3.3 The Chinese translation of The Land of Snow=== | ||
| + | Yasunari Kawa's masterpiece "Snow Country" has already been translated into many foreign languages, including English, Russian, and Chinese, and has been highly acclaimed in many countries. | ||
| + | In general, it is better to read the original work than the translation. In general, it is better to read the original work than the translation, but from the angle of research, the translation is also of great value, and sometimes it provides information that is absolutely essential to the understanding of the original work, in fact, the first paragraph of Snow Country is one example. | ||
| + | When we passed through the long border tunnel, we were in snow country. The bottom of the night turned white. The train stopped at the signal station. Through the long tunnel at the border of the country, it was snow country. The night sky was white. The train came out of the long tunnel. | ||
| + | "The train came out of the long tunnel into the snow country. The earth lay white under the night sky." | ||
| + | Let's look at the first sentence. The original Japanese is almost the same as the Chinese translation, but it is very different from the English translation. | ||
| + | The subject "THE TRAIN" appears in the first sentence of the English translation, but there is no subject corresponding to "TRAIN" in the Japanese original. In the first sentence of the English translation, the subject "the train" appears. | ||
| + | In the original Japanese work, there is no subject corresponding to "TRAIN. In other words, the process of the author's entering the In other words, the author is standing outside of the world and observing the process of the train leaving the tunnel and entering the snow country in a panoramic way. If we were to rewrite the English translation directly into Japanese, it would be "the train went through a long tunnel and entered the snow country. However, in the original Japanese work, there is no such expression as "went through" and "entered", but instead, the first and second sentences are set as "When it exited, it was ......". In the original story, there are no such expressions as "skillfully" and "entered," but instead, the preamble and postamble are set to "exited and ......." In essence, "exited and ......" and "exited and ......" are completely different narratives, and represent completely different cognitive systems. | ||
| + | |||
| + | |||
| + | |||
| + | ===Summary=== | ||
| + | Snow Country is a middle-grade novel written by the famous Japanese writer Yasunari Kawabata. Kawabata Yasunari was influenced by traditional Japanese culture and inherited the traditional Japanese aesthetic sense, of which Snow Country is the central embodiment. Snow Country" is regarded as a national literary work of Japan, in which the beauty of women and nature show a strong meaning of traditional Japanese beauty and have high aesthetic value. Therefore, translators should first grasp the cultural connotation of the original text and see the aesthetic value of the original text before carrying out the translation practice. | ||
| + | The translator can give full play to his or her feelings, knowledge, talents and aspirations, and on the basis of being faithful to the original text, he or she can skillfully use the methods of imitation and reconstruction to give full play to the advantages of the Chinese language and make the expression more easily understood and accepted by the readers of the translated language. As an emerging discipline, the theoretical framework of translation aesthetics is becoming more and more perfect, and the theoretical system is getting richer and richer. The above research proves that the theory of translation aesthetics has practical guidance for the Chinese translation of Japanese literary works. When translating Japanese literary works, translators should take the theory of translation aesthetics as a guide to make the aesthetic composition and aesthetic effect of the translated text correspond to the original text, so that the readers of the translated text can obtain similar reading experience as the readers of the original text and enhance the reading value and aesthetic value of the translated work. In addition, this thesis explores the feasibility of applying translation aesthetics theory to literary translation, and seeks for translation methods and techniques to reproduce the aesthetic value of the original text in the translated text, which provides certain reference values for Chinese translators to foreign translations of Chinese literary works. | ||
| − | |||
| − | === | + | ===Reference=== |
| + | [1] 川端康成 『雪国』、岩波書店、1952年. | ||
| + | [2] Kawabata Yasunari Snow Country. translated by Edward G. Seidensticker, Charles E. Tuttle Company, 1957. | ||
| + | [3] Hemingway Ernest The Old Man and the Sea. Kodansha International, 1991. | ||
| + | [4] アーネスト，ヘミングウェイ 『老人と海』（福田恒在訳）、新潮社、1966. | ||
| + | [5] 森田良行 『話者の視点がつくる日本語』 ひつじ書房、2006年 | ||
| + | [6] 籾山洋介・深田智 「意味の拡張」 松本曜編著『認知意味論』 大修館書店 | ||
| + | [7] 深田智・仲本康一郎 『概念化と意味の世界』 研究社、2008年 | ||
| + | [8] 本多啓 『アフォーダンスの認知意味論』、東京大学出版会、2005年 | ||
| + | [9] 西口純代 「物語文の現在時制における視点と文脈の変化」 河上誓作・谷口一美共編『ことばと視点』、英宝社、2007年 | ||
| + | [10] ベルク，オギュスタン 『空間の日本文化』（宮原信訳、ちくま学芸文庫）、筑摩書房、1994年 | ||
Revision as of 17:56, 6 December 2021
吴映红：Appreciation of poetry translation in the cross-culture background
Abstract
Snow Country, as a representative work of Yasunari Kawabata is characterized by its concise and unique language, delicate strokes and profound artistic conception. Snow Country contains a lot of Japanese national culture and traditional Japanese aesthetic consciousness, also embraces rich aesthetic information and high aesthetic value.And its Chinese translation has always attracted much attention from the translation studies. On the basis of clarifying the subject-object properties and relationships, contemporary translation aesthetics explores the types, means and standards of aesthetic representation in translation to guide translation practice. In previous studies, many literatures have demonstrated that translation aesthetics plays a guiding role in Chinese-english and other languages, but few studies have been conducted on Chinese-japanese translation.
Key words
Keywords translation aesthetics, Snow Country, aesthetic information, aesthetic representation
Chapter 1 Inteoduction
1.1 Background of the study
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.
1.2 Purpose and significance of the study
Based on the theory of translation aesthetics, this study not only meets the interdisciplinary requirements of translation science and can broaden the perspective of the study of the Chinese translation of Snow Country, but also demonstrates the effective interpretative power of translation aesthetics in the translation of novels by analyzing the degree of aesthetic reproduction of different Chinese translations, explores the feasibility of applying translation aesthetics to literary translation, and affirms the practical guidance significance of translation aesthetics in Japanese-Chinese translation. As the exchanges between China and Japan in the fields of politics, economy and culture become deeper and deeper, new translations of famous Japanese works represented by "Snow Country" will be released continuously, and the comparative study among translations will help improve and enhance the translation and interpretation of Japanese literary works in China, which will have certain positive significance for the study of Japanese literature by Chinese scholars. This thesis also attempts to find ways and techniques to reproduce the aesthetic value of the original texts in the translations, which also provides a definite reference value for Chinese translators to translate Chinese literary works.
1.3 Prior Research
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.
1.4 Research 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).
Chapter 2 on the aesthetics of translation
2.1 Aesthetic 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.
2.2 Definition of Aesthetics of Translation
In 1995, Mr. Liu Miqing's book, Introduction to the Aesthetics of Translation, was published in Taiwan. Through argumentative analysis, this work reveals the aesthetic origin of translation studies, analyzes the natural connection between translation aesthetics and Chinese language and writing, and puts forward the basic theoretical framework for constructing translation aesthetics. Professor Mao Ronggui's book Aesthetics of Translation, which was released in 2005, is divided into four main parts: the main part, the questioning beauty part, the hazy part, and the practice part. Just like the novel layout of this book, the contents of the article sweep away the obscure and incomprehensible style of research-oriented text, and the language is sometimes timeless, sometimes witty, sometimes thought-provoking, sometimes unbearable, so that people can really feel the beauty of language while understanding and studying the theory of translation. This work proposes that the ambiguity of language and the aesthetics of translation can be studied together, which was rarely mentioned among domestic scholars at that time and opened up new ideas for translation research. He believes that the study of linguistic ambiguity and how to compensate for it in translation is an inseparable topic in translation studies, and as far as linguistic ambiguity is concerned, Chinese is more so than English. Therefore, Chinese translation theory cannot lack the study of linguistic ambiguity and its compensation mechanism in translation.
2.3 Aesthetic 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.
Chapter 3 The Land of Snow and its Chinese translation
3.1 Yasunari Kawabata and The Land of Snow
Kawabata Yasunari (かわばた やすなり) was a famous Japanese novelist of the New Sensation school, born in Osaka on June 14, 1899. His parents died at an early age, and his sister and grandparents died one after another, so he was known as a "celebrity who attended funerals. His life was full of travels, and his mood was bitter and melancholy, and he gradually developed a sentimental and lonely character, which became a deep shadow of Kawabata Yasunari's literature. While studying at the University of Tokyo, he participated in the reprinting of the magazine Shinsei no 6. He graduated in 1924. In the same year, he and Toshiichi Yokomitsu published the magazine "No Generation," and later became one of the central figures of the New Sensation School that was born from it. After the decline of the New Sensation School, he joined the Emerging Art School and the New Psychology literary movement, and wrote more than 100 novels in his lifetime, more short stories than long ones. His works are lyrical, pursuing the beauty of life's sublimity, and deeply influenced by Buddhist thought and nihilism. In the early period, he mostly used lower-class women as the main characters of his novels, writing about their purity and misfortune. Some of his later works are about the perverted psychology of love between close relatives and even the elderly, with a pure and natural approach. The idea of nothingness in Snow Country is deeply permeated by the classical Japanese literary tradition, and is an "Eastern-style" nothingness. Although Kawabata Yasunari, when he first entered the literary world, was dissatisfied with the status quo of the literary world, he and Yokomitsu Riichi launched the "New Sensation Movement", which attempted to create a new sensory world with Dadaism, Expressionism and other Western modernist techniques, and did not pay attention to the Japanese literary tradition, and once "tried to deny it and exclude it. " However, in his middle age, Kawabata found that he "had not experienced the grief and distress of the Western way, nor had I seen the emptiness and decadence of the Western way in Japan. He began to draw closer to tradition. When writing Snow Country, he had to seek inspiration from traditional Japanese culture in order to write about the beauty that does not exist in this world. Kawabata Yasunari began to read classical Japanese literature as a teenager. Most of these works are imbued with Buddhist ideas of impermanence. The scene of Yoko's fall from the stairs is beautifully depicted at the end of The Land of Snow: "As he [Shimamura] stood upright on his heels, he looked up and the Milky Way seemed to pour down on Shimamura's heart with a crash." "The rigid body fell from the air, appearing soft, but the pose, like a puppet without struggle, without life, unrestrained, seemed beyond life and death." The author's description of death gives the impression that for the author, death is the end of happiness, and after death, like everything in nature, people return to nothingness and reach the realm where all things are as they are. This is exactly how Yasunari Kawabata himself perceives death. "This idea of emptiness of Yasunari Kawabata, who "expresses the essence of the Japanese mind with his excellent sensibility and skillful fiction", is in line with his life experience since childhood and the Buddhist philosophy of impermanence in Japanese classical literature. The influence of the Buddhist tradition of impermanence in classical literature on his inner world is related to the Zen Buddhist belief that "the bodhisattva is a person who is not a person. According to Zen Buddhism, "There is no tree for the bodhi, and no platform for the mirror. There is no such thing as a bodhi, and there is no such thing as dust." This is similar to the idea of nothingness that Yasunari Kawabata wants to express in Snow Country, that life is impermanent, that everything is empty, that I am extinguished as nothing, and that something is created out of nothing.
3.2 The aesthetic value of The Land of Snow
Snow Country is the story of a love affair between Shimamura, Komako, Yoko and Gyoko. Shimamura, a pampered man with a wife and children living in Tokyo, meets and is attracted to Komako, a geisha, when he goes to Snow Country for a relaxing break during a spring festival. Komako is deeply in love with Shimamura, but Shimamura sees her love as a beautiful and futile endeavor. On the second train to Yukiguni, Shimamura meets Yoko and falls in love with her beauty, but Yoko is taking good care of Gyuo, a patient in her arms. Gyoko is the son of Komako's benefactor and is said to be Komako's fiancé. Although Komako does not love Gyoko, she is willing to become a Geisha in order to raise money for Gyoko's medical treatment. Komako's beauty, youthful vigor, purity and optimism make Shimamura feel the vitality of life and save his empty heart; Yoko's coldness, emptiness and pure purity also attract Shimamura deeply and make him fall into endless unrequited love. At the end of the novel, Yoko dies in a fire, as if everything has returned to peace. Although the storyline of "Snow Country" is relatively simple, Kawabata's traditional Japanese beauty of nature, emptiness and sadness embodied in his work is heart-stopping. When Kawabata was awarded the Nobel Prize for Literature, the jury made special mention of the work Snow Country, making Snow Country also enjoy a certain international popularity and becoming Kawabata's most translated work overseas.
Snow Country is a literary work of Japanese national character, rich in traditional Japanese beauty, and also embodies the traditional aesthetic sense of the Japanese nation, which has a high aesthetic value. Grasping the aesthetic value of Snow Country as a whole from a macro perspective will help translators choose precise words and appropriate translation methods to improve their translations.
3.3 The Chinese translation of The Land of Snow
Yasunari Kawa's masterpiece "Snow Country" has already been translated into many foreign languages, including English, Russian, and Chinese, and has been highly acclaimed in many countries. In general, it is better to read the original work than the translation. In general, it is better to read the original work than the translation, but from the angle of research, the translation is also of great value, and sometimes it provides information that is absolutely essential to the understanding of the original work, in fact, the first paragraph of Snow Country is one example. When we passed through the long border tunnel, we were in snow country. The bottom of the night turned white. The train stopped at the signal station. Through the long tunnel at the border of the country, it was snow country. The night sky was white. The train came out of the long tunnel. "The train came out of the long tunnel into the snow country. The earth lay white under the night sky." Let's look at the first sentence. The original Japanese is almost the same as the Chinese translation, but it is very different from the English translation. The subject "THE TRAIN" appears in the first sentence of the English translation, but there is no subject corresponding to "TRAIN" in the Japanese original. In the first sentence of the English translation, the subject "the train" appears. In the original Japanese work, there is no subject corresponding to "TRAIN. In other words, the process of the author's entering the In other words, the author is standing outside of the world and observing the process of the train leaving the tunnel and entering the snow country in a panoramic way. If we were to rewrite the English translation directly into Japanese, it would be "the train went through a long tunnel and entered the snow country. However, in the original Japanese work, there is no such expression as "went through" and "entered", but instead, the first and second sentences are set as "When it exited, it was ......". In the original story, there are no such expressions as "skillfully" and "entered," but instead, the preamble and postamble are set to "exited and ......." In essence, "exited and ......" and "exited and ......" are completely different narratives, and represent completely different cognitive systems.
Summary
Snow Country is a middle-grade novel written by the famous Japanese writer Yasunari Kawabata. Kawabata Yasunari was influenced by traditional Japanese culture and inherited the traditional Japanese aesthetic sense, of which Snow Country is the central embodiment. Snow Country" is regarded as a national literary work of Japan, in which the beauty of women and nature show a strong meaning of traditional Japanese beauty and have high aesthetic value. Therefore, translators should first grasp the cultural connotation of the original text and see the aesthetic value of the original text before carrying out the translation practice. The translator can give full play to his or her feelings, knowledge, talents and aspirations, and on the basis of being faithful to the original text, he or she can skillfully use the methods of imitation and reconstruction to give full play to the advantages of the Chinese language and make the expression more easily understood and accepted by the readers of the translated language. As an emerging discipline, the theoretical framework of translation aesthetics is becoming more and more perfect, and the theoretical system is getting richer and richer. The above research proves that the theory of translation aesthetics has practical guidance for the Chinese translation of Japanese literary works. When translating Japanese literary works, translators should take the theory of translation aesthetics as a guide to make the aesthetic composition and aesthetic effect of the translated text correspond to the original text, so that the readers of the translated text can obtain similar reading experience as the readers of the original text and enhance the reading value and aesthetic value of the translated work. In addition, this thesis explores the feasibility of applying translation aesthetics theory to literary translation, and seeks for translation methods and techniques to reproduce the aesthetic value of the original text in the translated text, which provides certain reference values for Chinese translators to foreign translations of Chinese literary works.
Reference
[1] 川端康成 『雪国』、岩波書店、1952年. [2] Kawabata Yasunari Snow Country. translated by Edward G. Seidensticker, Charles E. Tuttle Company, 1957. [3] Hemingway Ernest The Old Man and the Sea. Kodansha International, 1991. [4] アーネスト，ヘミングウェイ 『老人と海』（福田恒在訳）、新潮社、1966. [5] 森田良行 『話者の視点がつくる日本語』 ひつじ書房、2006年 [6] 籾山洋介・深田智 「意味の拡張」 松本曜編著『認知意味論』 大修館書店 [7] 深田智・仲本康一郎 『概念化と意味の世界』 研究社、2008年 [8] 本多啓 『アフォーダンスの認知意味論』、東京大学出版会、2005年 [9] 西口純代 「物語文の現在時制における視点と文脈の変化」 河上誓作・谷口一美共編『ことばと視点』、英宝社、2007年 [10] ベルク，オギュスタン 『空間の日本文化』（宮原信訳、ちくま学芸文庫）、筑摩書房、1994年