Cognitive Aesthetic Study On The Texture Of Shelley’s Ode To The West Wind And Its Four Chinese Versions

This thesis from the perspective of cognitive aesthetics studies the resonant effect ofthe texture of Shelley’s Ode to the West and its four Chinese versions, in order toshowcase the emotional origin of reading experience of readers, looking forward toimprove the reader’s capacity of appreciation to poetry and translator’s translation ofEnglish poetry.In qualitative analysis way, this thesis based on the resonance theory of the texturecomparatively analyzes the “attractors” that can cause resonant effect, in Ode to the WestWind and its four Chinese versions and systematically explores those "attractors" thatlead to resonant effect in four Chinese versions in order to show the special effects andshortcomings of each Chinese version in the aspect of realizing and achieving theresonant effect of the original version.The study of this is divided into the following three steps: First, the author selectsfour typical Chinese versions with the span of certain years from thirty Chinese versionsof Ode to the West Wind spaning an84-year history from1923to2007; Second, thisthesis will analyze the attractors causing resonant effect of the original Ode to the WestWind using the theory of resonance; Third, this thesis will analyze the attractors causingresonant effect of the four Chinese versions of Ode to the West Wind by the theory ofresonance and compare these attractors with those of original version to analyze the gainand loss of the four Chinese versions in the term of realizing and achieving resonanteffect of the original version.Research shows: the four Chinese versions of Ode to the West Wind all can not fullyrealize the “attractors” that cause the resonant effect of the original version, which leadsto the fact that the four Chinese versions can not fully express the implication of theoriginal version or can not fully realize the resonant effect generating between readersand the original version; the four Chinese versions mainly realize the “attractors” of theoriginal version through the principles of agency, topicality, definiteness, activeness, brightness, largeness and aesthetic distance from the norm provided by the theory ofresonance; the four Chinese versions can not entirely realize the attractors that can causeresonance in the original version mainly for the loss of using the ways of agency,topicality or other ways.This research not only provides a proven platform for the using of cognitiveaesthetic theory in the aspect of the Chinese translations of English poetries, but also, tocertain extent, can help the translated version realize the unity of poetic language formand poetic function and help readers improve the capacity for appreciating theimplication of the original poetries and their Chinese versions.