翻译美学视角下《飘》的审美复现——一项基于语料库的翻译分析-aesthetic reproduction of gone with the wind from the perspective of translation aesthetics - a corpus-based translation analysis.docxVIP

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翻译美学视角下《飘》的审美复现——一项基于语料库的翻译分析-aesthetic reproduction of gone with the wind from the perspective of translation aesthetics - a corpus-based translation analysis.docx

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翻译美学视角下《飘》的审美复现——一项基于语料库的翻译分析-aesthetic reproduction of gone with the wind from the perspective of translation aesthetics - a corpus-based translation analysis

A Corpus-based Study on Aesthetic Representation ofGone with the Wind——From the Perspective of Translation AestheticsABSTRACTGone with the Wind, the only published work of Margaret Mitchell ranked among the top of America’s best-selling and became a great success the moment it was published in 1936. By establishing a small corpus of four typical full-text Chinese translations of Gone with the Wind, this thesis tries to make a study from the aspects of sound, lexis, syntax, culture, image and artistic conception based on the translation aesthetics proposed by Liu Miqing. It aims to recognize the different representations of the aesthetic information of the original with large numbers of examples on the basis of corpus. It’s a study combines quantitative description and qualitative analysis together.This thesis is going to answer two questions: 1) Where does the aesthetic information lie in Chinese versions and how is the aesthetic representation achieved respectively in accordance with the source text? 2) What strategies are employed to reproduce the aesthetic information in four Chinese versions in light of translation aesthetics?The major findings are as follows:Through the analysis of the Chinese translations of Gone with the Wind, it is concluded that the aesthetic information is embodied in both formal aesthetic system and non-formal aesthetic system of Chinese versions.To begin with, as far as the aesthetic representation of the formal system is concerned, when dealing with the representation of sound beauty, as for the source onomatopoetic words, the four translators all use corresponding Chinese onomatopoetic words to substitute the original onomatopoetic words; as for theisource plain words with neat pronunciation, the four translators all try to adopt reduplicated words such as ABB or AABB words with terse style. When dealing with the lexis beauty, as for some elegant or meaningful source words, translators all try to render their beauty in four-character i