A Study On The English Translation Of Fuzzy Beauty In Classical Chinese Poetry From The Perspective Of Reception Aesthetics

The reasons why a classical Chinese poem in itself is a picturesque and visionary painting are that its language is reserved and its image is full of implicit meanings. Thus the Chinese classical poetry can provide readers with a vast imaginary space. The features of language and image of Chinese classical poetry highly represent fuzziness which becomes fuzzy beauty through readers'aesthetic experience in the act of reading. In this dissertation, fuzzy beauty in classical Chinese poetry is taken as the subject of study and the author aims at exploring the general principle and translation method of translating this fuzzy beauty in the perspective of Reception Aesthetics and testing the principle and method through case study.This dissertation starts from"latent"and"reserve'in traditional Chinese poetic critique and points out that fuzzy beauty in classical Chinese poetry lies in multi-meanings and reserved language. After analyzing the characteristics of fuzzy beauty, we find that artistic conception is the main embodiment of fuzzy beauty. On the basis of above analysis, it is put forward that fuzzy beauty lies not only in multi-meanings and reserve but also in its creating process. The dissertation analyzes the role which image plays in the creating process of fuzzy beauty through the combination methods of vehicle and tenor. The fuzzy beauty created by numeral image and image without person, time and place are also discussed. Then the similarities between fuzzy beauty and Reception Aesthetics are pointed out that both of them attach great importance to indeterminacy and readers'subjective role.Then, according to the research purposes, the author puts forward the general principle of translating fuzzy beauty in Chinese classical poetry, viz. aesthetic equivalence, through a detailed analysis of the enlightenment of the Reception Aesthetics to English translation of fuzzy beauty. Taking dynamic aesthetic equivalence as the principle, the dissertation suggests the"image method"to transfer fuzzy beauty through image. Finally, under the guidance of aesthetic equivalence, the dissertation makes a comparative study of different English versions of three classical Chinese poems, uses the"image method"to translate and manifests the feasibility of aesthetic equivalence.The dissertation studies fuzzy beauty in classical Chinese poetry from the perspective of Reception Aesthetics and proposes that translating fuzzy beauty in classical Chinese poetry should abide by the general principle of aesthetic equivalence and adopt"image method". Then the feasibility and practicability of the principle and method are tested through a comparative study of different English versions of three classical Chinese poems. Therefore, we get the conclusion that we should abide by the general principle of aesthetic equivalence and adopt"image method"when translating fuzzy beauty in classical Chinese poetry.