| Classical Chinese poetry is the most brilliant achievement of Chinese literature and also an irreplaceable literary heritage not only to Chinese people but also to the world. Imagery, an important and unique concept in the classical Chinese, is always regarded as the soul of classical Chinese poetry and beauty vehicle. Therefore, how to translate classical Chinese poetry successfully, to great extent, is equal to how to transfer the imagery existing in it sufficiently as a whole. For years, scholars and translators, both at home and abroad, have made significant efforts in translating the classical Chinese poetry, so as to present this precious Chinese cultural and literary heritage to the world. Among these translators, some of them not only give their outstanding renditions, but also have established their own valuable opinions on translating imagery in classical Chinese poetry. However, the translation of imagery in classical Chinese poetry is a very significant yet rather difficult subject to be explored. The difficulties mainly arise from the complexity of the connotations of imagery itself, therefore, most discussions on imagery translation are experience-based and inadequate, lacking in effective theory as guide in this aspect. At present almost every scholar uses the term imagery when discussing classical Chinese poetry translation, however, there is lacking in a clear and common understanding about it so far. Different people have different opinions about it. Based on a tentative yet systematic exploration into the conception of imagery at home and abroad, the present thesis points out that imagery consists in the totality of the artistic imagery characterized by a fusion of feelings with scenes plus the imagined images it triggers. The essence of imagery lies not simply in a fusion of feelings with scenes, but more in creating "images beyond images" that is, realm, which can provide readers with a vast imaginary sphere. Therefore, imagery is actually completed by both the author and the reader. The reader's subjectivity is fully manifested in the process of imagery. Aesthetics is an important approach to assessing the values of both literature and its translations. Without beauty, poetry could not find its dependence for existence. From this perspective, the translating process of classical Chinese poetry is the one how to preserve the beauty of its imagery. This thesis seeks to account for the aesthetic representation of imagery of classical Chinese poetry in English from the perspective of fuzzy Aesthetics. Aesthetics assumes that openness and indeterminacy—fuzziness—, are the nature of all literary texts. Fuzziness is inherent in imagery of classical Chinese poetry, in which fuzzy expressions produce fuzzy beauty. In this paper, on the theoretical basis of fuzzy aesthetics, the author explores the aesthetic nature of verse translation by addressing the aesthetic principle of "conveying fuzzy beauty" and attempts to examine transferring fuzzy beauty in terms of the three aesthetic elements composing of imagery in English translation of classical Chinese poetry. Through the extensively practical and comparative analysis of the different versions of various classical Chinese poems, effective techniques and methods concerning the translation of fuzzy beauty in imagery of the three aesthetic constituents of imagery are discussed and summarized. Meanwhile, further requirements on the subjective role the translator plays in the transference of imagery have been put forward. It is especially emphasized that the translator should take into consideration target readers' subjective creativity in understanding and enjoying the imagery of the translated poems. As far as the transference of imagery of a whole poem is concerned, it is also stressed that the reproduction of the three aesthetic constituents of imagery must be aimed at transferring its aesthetic images as a harmonious whole. It is hoped to provide an artistic re-creation space for English translation of classical Chinese poetry. |
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