Chapter One

Aesthetic Subject

In scenic-spot introductions, translators and tourists play the major roles. It is impossible to make any requirements of tourists or potential tourists, since they may come from all over the world, with different education; so translators become the ones to be qualified. Modem translation theorists believe that a professional translator has access to five distinct kinds of knowledge: target language knowledge; text-type knowledge; source language knowledge; subject-related knowledge; and contrastive knowledge. As far as the aesthetic subject concerned, the aesthetic competence of the translators can be aroused by subjective dynamics and be restricted by conditionality. In the following, we will have a detailed discussion of these two parts.

1.1Subjective Dynamics of Aesthetic Subject

Translators are to perceive and appreciate the beauty in the source text and to recreate the aesthetic information. In order to make sure the translation aesthetic representation to gain a more satisfying effect, the translator needs to possess some basic qualifications, Nida requires that the translator “must understand not only the obvious content of the message, but also the subtleties of meaning, the significant emotive values of words and the stylistic features which determine the feel of the message”(1964: 150). As the aesthetic subject, a qualified translator needs to possess aesthetic knowledge, aesthetic awareness and aesthetic experience.

1.1.1The Aesthetic Knowledge

A successful translation work is always based on the translator’s plentiful knowledge and capability. To be more precise, translators need the aesthetic knowledge of both source language and target language, which are the most fundamental prerequisite to ensure translators5 accurate comprehension and faithful renderings. Only in possession of aesthetic knowledge, translators can begin the work of aesthetic judgment; and “a perfect understanding would involve not only an accurate direction of thought, a correct evocation of feeling, an exact apprehension of tone and a precise recognition of intention, but further it would get these contributory meanings in their right order”(Richards 1929:332). The aesthetic knowledge basically includes the good command of both language and culture, because "no language can exist unless it is steeped in the context of culture; and no culture can exist which does not have at its center, the structure of natural language”(Sapir 1956:69) Therefore, a qualified translator should be not only bilingual, but also bicultural. Specifically, a competent translator of scenic-spot introduction ought to have a good master of tourism language and tourism culture.

1.1.2 The Aesthetic Awareness

The aesthetic awareness is the perception of beauty and sensitivity to beauty, which usually starts from intuition. If the translator is well qualified culturally, his perception and sensibility may develop in a rational way and get sublimed. Only then can we say that this aesthetic subject has high-level aesthetic eva luations, he can tap his aesthetic awareness in the optimal dynamic way and hence well perform his aesthetic functions in the practice of aesthetic translation.

For example， Chinese people are quite familiar with the saying “桂林山水甲天下” which means the natural scenery of Guilin is the best in the world. Anyhow, this explanation is quite common， far from being impressive. Translators try to find a better translation by bringing aesthetic awareness into play. As a result， a wonderful translation as “East or west, Guilin Landscape is best!” comes into existence by imitating an English proverb “East or west, home is best.” Obviously, the aesthetic awareness of translators functions as the propulsive power in process, and these awareness can be obtained from the accumulation of aesthetic experience.

1.1.3 The Aesthetic Experience

The aesthetic subject can develop aesthetic perceptions in a series of repeated aesthetic activities. Just like the saying goes, 'practice makes perfect”, an experienced aesthetic subject can perform his aesthetic functions comparatively well and tap his potential to its full. An aesthetic subject with little aesthetic experience may have faint aesthetic awareness even though he is translating a beautiful prose, and can‘t perform his aesthetic functions effectively. The aesthetic experience can be acquired through aesthetic practice, so how to conduct aesthetic practice is a crucial matter that helps the aesthetic subject to fulfill his aesthetic awareness, to perform his aesthetic functions well and to realize the effective aesthetic reproduction. For example, when dealing with cultural blanks and cultural conflicts, an experienced translator would adopt different tactics as cultural borrowing, cultural substitution, or cultural transplantation to solve the problem calmly, while a translator of little experience would be in a rush for reference books everywhere.

收费专业论文
汉语言文学论文
物理学论文
自动化专业论文
测控技术专业论文
历史学专业论文
机械模具专业论文
金融专业论文
电子通信专业论文
材料科学专业论文
英语专业论文
会计专业论文
行政管理专业论文
财务管理专业论文
电子商务国贸专业
法律专业论文
教育技术学专业论文
物流专业论文
人力资源专业论文
生物工程专业论文
市场营销专业论文
土木工程专业论文
化学工程专业论文
文化产业管理论文
工商管理专业论文
护理专业论文
数学教育专业论文
数学与应用数学专业
心理学专业论文
信息管理专业论文
工程管理专业论文
工业工程专业论文
制药工程专业论文
电子机电信息论文
现代教育技术专业
新闻专业论文
热能与动力设计论文
教育管理专业论文
日语专业论文
德语专业论文
轻化工程专业论文
社会工作专业论文
乡镇企业管理
给水排水专业
服装设计专业论文
电视制片管理专业
旅游管理专业论文
物业管理专业论文
信息管理专业论文
包装工程专业论文
印刷工程专业论文
动画专业论文
营销专业论文范文
工商管理论文范文
汉语言文学论文范文
法律专业论文范文
教育管理论文范文
小学教育论文范文
学前教育论文范文
财务会计论文范文

电子商务论文范文