An Analysis Of Aesthetic Representation In Two Chinese Versions Of Rebecca

Rebecca by Daphne du Maurier was published in 1938.It was officially introduced to China in 1994 by the version of Lin Zhiling and Cheng De,and related studies in China have been conducted based on this version.Its copyright changed in 2014 and the new publisher used the version of Fang Huawen.Since quality of translation impacts the spread of literary works,it is necessary to evaluate the publisher's decision for the sake of the writer and readers.Besides,Liu Miqing systematically introduces translation aesthetics and aesthetic representation in An Introduction to Translation Aesthetics and devides the translation aesthetic object into two systems:the formal and non-formal systems.The former includes sound,lexis,and syntax;the latter contains image,symbol and style.The classification conforms with the appreciation of literary works which are analyzed from form,content and style.This thesis analyzes the aesthetic representation in two versions of Rebecca,one is by Lin Zhiling and Cheng De,the other is by Fang Huawen,from the aspect of form,content and style,referring to the aesthetic representation.Besides,the author provides attempted translations to the imperfections.Generally,the two versions use dynamic imitation to optimize the aesthetic representation based on features and practice in both languages.As for the aesthetic representation in form,the thesis analyzes sound,lexis and syntax and finds that both versions apply duplication and four characters to make up the loss of aesthetic values in sound.Fang's version better represents the aesthetic values in lexis and syntax by strictly represent features in structure,and its concise expression is appropriate for the register.In terms of content,image and symbol are discussed.Lin and Cheng outperform Fang by flexibly using verbs,conjunctions and interjections to represent the aesthetic values in content.The aesthetic representation in style are analyzed from speech,address terms,idioms and the overall.Lin and Cheng add modifiers and attributives to enhance the expressive power of language.As for idioms,Fang uses popular saying in Chinese to facilitate understanding by applying target-language-oriented representation.However,Lin and Cheng apply the source-language-oriented imitation which causes difficulties in understanding.However,dynamic imitation is recommended in representing the culturally related expressions,which can deliver the semantic meaning and flexibly add explanations that facilitate reading and understanding.