从陌生化视角看张培基散文翻译作品中审美感实现(1)

从陌生化视角看张培基散文翻译作品中审美感实现(1) 独创性声明 本人声明所呈交的学位论文是本人在导师指导下进行的研究工作和取得的 研究成果，除了文中特别加以标注和致谢之处外，论文中不包含其它人已经发表 或撰写过的研究成果，也不包含为获得 天津大学 或其它教育机构的学位或证书 而使用过的 材料 关于××同志的政审材料调查表环保先进个人材料国家普通话测试材料农民专业合作社注销四查四问剖析材料 。与我一同工作的同志对本研究所做的任何贡献均已在论文中作 了明确的说明并表示了谢意。 学位论文作者签名: 签字日期: 年 月 日 学位论文版权使用MATCH_ word word文档格式规范word作业纸小票打印word模板word简历模板免费word简历 _1714124570764_0书 本学位论文作者完全了解 天津大学 有关保留、使用学位论文的 规定 关于下班后关闭电源的规定党章中关于入党时间的规定公务员考核规定下载规定办法文件下载宁波关于闷顶的规定 。特授 权 天津大学 可以将学位论文的全部或部分内容编入有关数据库进行检索，并采 用影印、缩印或扫描等复制手段保存、汇编以供查阅和借阅。同意学校向国家有 关部门或机构送交论文的复印件和磁盘。 (保密的学位论文在解密后适用本授权说明) 学位论文作者签名: 导师签名: 签字日期: 年 月 日 签字日期: 年 月 日 摘要 陌生化是俄国形式主义的核心思想。陌生化指的就是作者有意识创造的，能给理解 过程制造难度，从而让读者产生新鲜独特的审美享受的语言手段。陌生化的存在对文学 作品的翻译来说是一个挑战，译者不仅要再现 原文 少年中国说原文俱舍论原文大医精诚原文注音大学原文和译文对照归藏易原文 的陌生化手法，也要从陌生化的角度 建构译作的艺术价值，避免将源语文本归化成目的语读者所熟知的或显而易见的形式和 内容。译者要借助保留源语文本中陌生化的语言和文化或将源语文本中的陌生化的语言 文化特征与其对应的目的语文本的语言文化特征相结合创造新的陌生化这两种手段使 文学翻译作品陌生化，增加目的语读者的新奇感，以延长审美主体的关注时间和关注难 度，从而增加审美感。 张培基是散文翻译实践的代表人物，长期投身于中国现代散文的英译实践,译作丰 富。以《英译中国现代散文》为代表的散文作品给读者带来如同读原文一样的审美享受， 广受好评。散文是重要的文学体裁，本身就注重通过陌生化手段使读者产生美的享受和 美的体验。这种陌生化的审美感也必须让译语读者所感受。但是一直以来散文翻译的研 究滞后于其它文学体材的翻译，而且研究不够深入。张培基认识到了散文创作中存在着 陌生化的手段，因此提出译文的通顺程度要与原文一致，忠实比通顺更重要。这种忠实 化的策略与陌生化翻译策略有异曲同工之妙;他认为汉语散文承载了中国文化，是可译 也是值得翻译的,在不违背译文语言规范的条件下，直译可以引进新的词语和句子，为 译入语文化注入新鲜血液, 从而带来陌生化的审美感，直译优于意译。张培基的这些思 想与陌生化思想都有想通之处，必然体现在他的翻译作品之中。 本文基于陌生化理论，依托张培基的散文英译作品《英译中国现代散文选》，从选 材、形式方面的审美价值、非形式方面的审美价值、文化等方面来探讨张培基在其译作 中为审美感的实现所采取的陌生化翻译策略，从而证明了陌生化翻译策略运用于散文翻 译的可行性，为张培基的散文翻译研究提供了陌生化的视角，为散文翻译的研究和实践 提供一定的借鉴和参考。 关键词:张培基，散文英译，陌生化，审美感 I Abstract Defamiliarization is a core idea of Russian Formalism. Defamiliarization means a language strategy to increase the difficulty of reading process on purpose, guiding readers to access unique and fresh aesthetic enjoyment. It is challenging for translators to represent the defamiliarization devices in original works, not to mention they should create the translation from the perspective of defamiliarization to improve the artistic value of the original work. Translators should avoid naturalizing the original text into form and content which is direct and familiar to target readers. Instead, they should maintain the language and culture of defamiliarizatio in the original work or combine the language and culture of defamiliarization in the original text and the target text to create new defamiliarization in translation. These defamiliarization devices will increase the curiosity and attention of target readers, enhancing the aesthetic enjoyment of defamiliarization. As a representative of translation practice, Zhang Peiji has been in the field of translation practice for a long time and has finished abundant translation works, represented by Selected Modern Chinese Essays. The aesthetic enjoyment which he brings to target readers in his Chinese-English essay is not less than the original text to the native readers and these translated works are highly spoken of. However，The translation of essay has been lagging for a long time compared with other literary genres. The current study of it is superficial. Essay is an important literary genre. As an important literary genre, essay is a representative that focuses on generating aesthetic enjoyment and aesthetic experience by defamiliarization. This aesthetic enjoyment of defamiliarization should be experienced by target readers, too. Zhang Peiji was aware of the existence of defamiliarization in the creation of essay and held that the degree of smoothness of the target work should be consistent with the original work and faithfulness was more important than smoothness. This faithful translation strategy is harmonious with defamiliarization translation strategy. He regarded the transmission of Chinese culture as one aim in his translation. He thought that the Chinese II essay, a carrier of Chinese culture, was translatable and worth translating. He insisted that literal translation could bring unfamiliar feeling and that literal translation was prior to free translation if the content of the source text can be completely conveyed without violating of the norm of the target language. Literal translation can introduce new and vivid words, syntax structures and expressions so that the target language can be enriched improved and fined. Zhang Peiji’s translation thought is connected with defamiliarization and is manifested in his translated works. Based on the Selected Modern Chinese Essays 4, the paper discusses the translation strategy of defamiliarization taken by Zhang Peiji to realize the aesthetic feeling in terms of selection of materials, formal aesthetic value, non-formal aesthetic value and culture. It is demonstrated that the defamiliarization translation strategy is feasible and the perspective of defamiliarization is supplied to the study of Zhang peiji’s essay translation. It is valuable for the later study of essay translation. KEY WORDS: Zhang Peiji, Translation of Chinese Essay, Defamiliarization, Aesthetic Feeling III Contents 摘要..................................................................................................................................... I Abstract .............................................................................................................................II Introduction........................................................................................................................1 Chapter 1 Overview of Defamiliarization .........................................................................5 1.1 Defamiliarization .................................................................................................5 1.1.1 The Origin of Defamiliarization............................................................5 1.1.2 Introduction of Defamiliarization .........................................................6 1.2 Aesthetic Feeling Caused by Defamiliarization .................................................. 10 1.2.1 Defamiliarization and the Author’s Pursuit of Aesthetics .................... 10 1.2.2 Defamiliarization and the Reader’s Expectation of Aesthetics............. 12 Chapter 2 Aesthetics in Zhang Peiji’s Essay Translation Works.................................... 13 2.1 Aesthetic Value Measure of Essay Translation .................................................... 14 2.2 Aesthetic Thought in Zhang Peiji’s Views on Translation.................................... 15 2.3 The Strategy of Defamiliarization Translation..................................................... 17 Chapter 3 Aesthetic Realization of Defamiliarization in Zhang Peiji’s Translation Works20 3.1 Aesthetic Realization of Defamiliarization in Material Selection......................... 20 3.1.1 The Selection of Chinese Essay .......................................................... 20 3.1.2 The Selection of Subject Matter with Chinese Feature........................ 21 3.2 Aesthetic Realization of Defamiliarization in Formal Aesthetic Value................. 21 3.2.1 Aesthetic Realization of Defamiliarization on Phonetic Level............. 22 3.2.2 Aesthetic Realization of Defamiliarization on Lexical Level............... 24 3.2.3 Aesthetic Realization of Defamiliarization on syntactic Level............. 27 3.3 Aesthetic Realization of Defamiliarization on Non-formal Level ........................ 29 3.3.1 Aesthetic Realization of Defamiliarization in Image ........................... 29 3.3.2 Aesthetic Realization of Defamiliarization in Artistic Conception....... 31 3.4 Aesthetic Realization of Defamiliarization in Culture ......................................... 35 IV 3.4.1 Aesthetic Realization of Defamiliarization in Thought Culture ........... 35 3.4.2 Aesthetic Realization of Defamiliarization in Conventional Culture.... 35 3.4.3 Aesthetic Realization of Defamiliarization in Religious Culture.......... 37 Conclusion ........................................................................................................................ 39 Bibliography ..................................................................................................................... 42 Acknowledgements........................................................................................................... 45 V 天津大学 2013 届外国语言学及应用语言学专业研究生毕业论文 Introduction Defamiliarization, proposed by Shklovsky, is also translated into “奇特化”and “反常化”, which are opposite to automation. It is a general term of various methods to increase the sensibility of artistic works and to make artistic works contain the property of literariness. If we trace its source, we may find that defamiliarization is related to newness of Aristotle’s poetic ideas in the Western history of aesthetics and literature theory. Aristotle emphasized to make readers be filled with the sense of surprise by arranging language and plot unusually. As early as 1970s, the Early translation Studies, represented by Liri Levý, František Miko and Anton Popovic, noticed defamiliarization devices in literary works and attached great importance to their representation in the target text. They borrowed the concept of defamiliarization from Russian Formalism, and criticized the focus on meaning and on translating the text for easy consumption by readers in the receiving culture. Levý paid attention to the literariness of the original text, i.e. formal features, which can be separated from content and translated into target language. He held that translation aimed at finding out the literariness of the original work and transforming them into the target language. The extreme of his theory is that the content is regarded as unstable and changeable element while the form is eternal. Miko emphasized expressive features in his theory and he thought the expressive features form together hierarchically constructing the work’s meaning and value. (Edwin Gentzler 2004:86). These expressive features can be classified and transformed between different languages. Popovic developed the theory on the shoulder of Levý and Miko. He put forward the concept of “shift of expression”, which include the difference between the original texts and target text in terms of form and semantics. He held that the loss was inevitable in translation and the formal element could not be translated into the target text completely. By studying “shift of expression”, the researcher can not only figure out the aesthetic feature of the translated work, but also research the literary and cultural norm of target languages. The three scholars all emphasized defamiliarized devices. Levý and Miko thought the defamiliarized device was independent of works’ content and should be remained in translation. Popovic thought further. He was aware of the inevitability of the loss of formal features and the literary and cultural element behind the 1 天津大学 2013 届外国语言学及应用语言学专业研究生毕业论文 shift of expression. However, they did not notice that the different language and culture may affect the reader’s receptivity, although stressed the maintenance of defamiliarized form. What’s more, they did not give enough attention to content. The shift from form to form without thinking of content may be harmful to the conveyance of original works’ meaning and theme and the literary translation will lose its material basis. Even-Zohor (1978) pointed out, “When a kind of literary is marginalized and weak in the literary polysystem, translated literary is not only a main way to input the fashionable repertoire, but also a source to supply new expressions. Thus the literature of strong trend status can choose to adopt novelties from the marginalized literature”. To input the fashionable repertoire and to adopt novelties are ways to maintain the new literary device and method, including the device of defamiliarization. Seamus Blowin Heaney, an Irish poet and the Nobel Laureate for literature in 1995, pointed that “translator should not only abandon the clichés or common expressions and defamiliarize the expressions of the target language in order to enrich its expressiveness, but also endeavor to transmit the linguistic uniqueness of the source text into the target text for the purpose of facilitating the understanding and communication between different cultures” in his work The Government of the Tongue. His translation principle of defamiliarization applied the defamiliarization which was used in works creation by Russian formalists into translation and made translation a kind of creation. Susan Bassnett (2004), a representative in Culture Turn, discussed the defamiliarization by comparing two English translations of an Italian poem by Giuseppe Ungaretti. She emphasized the significance of keeping the same effect of defamiliarization. Edwin Gentzler said in Contemporary Translation Theories, “if anything, early translation studies prescribed that a work in translation retain defamiliarization devices, and if existing devices could be transposed in the second language, the translator needed to invent new ones” (Genzler 2004:82). All in all, the western scholars have agreed the necessity of defamiliarization in translation. At the beginning of the 1990s, Chinese scholars introduced defamiliarization into translation study. There were some achievements although it was not comprehensive. Sun Yifeng (2003) proposed to maintain the original defamiliarization in Norms Governing Translation and Subjectivity of Chinese Translators Journal. Without focusing on the 2 天津大学 2013 届外国语言学及应用语言学专业研究生毕业论文 representation of the defamiliarization devices in original works, Zheng Hailing (2003) regarded literary translation as recreation and defamiliarization as an important device to realize recreation. Wang Dongfeng (2005) pointed that the defamiliarization of literature challenged the traditional domesticating translation and that the defamiliarized forms could produce aesthetic effect in Conflicts in Perception between Literary Translators and Writers of Chinese Transltors Journal. Sun Huijun (2005) put forward that as literature, the translated works should have the properties of artistry and literariness, which were realized by defamiliarization. Chen Lin (2007) studied the translation of poem in the light of defamiliarization and put forward the strategy of alienating translation, which was further illustrated in 2010. We can find there are some limitations in the current study. (1) Defamiliarization is widely used to analyze literary works, films and television programs and advertising language, but it is rarely used to study translation. According to Russian formalism, defamiliarization, as a device to produce literariness of literary works, should also be employed to consider the literariness of the translated works. (2) The current studies focus on the relation between defamiliarization and foreignization and the representation of defamiliarization. It is not systematic. What’s more, this kind of study is limited to poetic translation, so it is not comprehensive. (3) As an important literary genre, Essay is not studied as detailedly as other literary genres. There is no any monograph on the study of modern Chinese essay. Essay focuses on the aesthetic feeling from defamiliarization, which should also be enjoyed by the readers of the target language. (4) The globalization makes defamiliarization acceptable and necessary in translation study. Zhang Peiji is a prestigious translator in China. His translation work is mainly about translation of Chinese essay, making contribution to the translation of modern Chinese essay. It is significant to find out his translation thought by studying his translation work, but now the work of this field is rare. This study combined defamiliarization with aesthetics in translation to study the translation thoughts and translated works, extending the applied range of 3 天津大学 2013 届外国语言学及应用语言学专业研究生毕业论文 defamiliarization theory, demonstrating the feasibility to study the aesthetic feeling of the translated works according to the strategy of defamiliarization translation, providing a new perspective for the study of Zhang Peiji’s Chinese essay. The construction of the paper is as follows. Chapter 1 is an overview of defamiliarization, including the introduction of the origin of defamiliarizations and content of defamiliarization. It is authors’ pursuit of aesthetics and readers’ expectation of aesthetics make defamiliarization draw researchers attention. Chapter 2 analyzes the aesthetics in Zhang peiji’s essay translation. Chapter 3 discusses the aesthetic realization of defamiliarization in Zhang Peiji’s translation works. In this chapter, the aesthetic realization of defamiliarization is illustrated from four aspects: material selection, formal aesthetic value, non-formal aesthetic value and culture. 4 天津大学 2013 届外国语言学及应用语言学专业研究生毕业论文 Chapter 1 Overview of Defamiliarization It is not true that the concept of defamiliarization did not appear as a brand-new concept until twentieth century. In literary theories, there are amount of scholars who discussed problems concerned with defamiliarization by using different terms. This chapter traces the history of defamiliarization and gives a brief introduction of the theory. Meanwhile, we discuss the relation between defamiliarization and aesthetics from two aspects. 1.1 Defamiliarization The concept of defamiliarization sheds light on the aesthetic enjoyment by aspiring after the new and the strange in translated texts and prolongating our understanding. This chapter traces the source of defamiliarization and shows a compressive introduction of the theory of defamiliarization. 1.1.1 The Origin of Defamiliarization Defamiliarization is a kind of artistic technique to forge readers to see common things in strange or unfamiliar way so as to deepen the understanding of the familiar. It is a language method which created by writers consciously and can make the process of reading difficult, guiding readers has an aesthetic feeling of freshness and uniqueness. The systematic theory of defamiliarizaitioncan can be traced to the beginning of the twentieth century and the concept became a central one in art and theory in the twentieth century. It is Shklovsky who first systematize the theory of defamiliarizaition. By analyzing the general laws of perception in art, Shklovsky found a situation which is often ignored by common people: all of our habits result from the unconsciously automatic, i.e. when perception becomes habitual, it becomes automatic. And what distinguish poetic language from practical language is to counter this kind of habitual perception. Defamiliarizaition is a term used to describe the capacity of art to counter the deadening effect of habit and convention by investing the familiar with strangeness 5 天津大学 2013 届外国语言学及应用语言学专业研究生毕业论文 and thereby deautomatizing perception (Greig E. Henderson & Christopher Brown, 1997). However, there are many elaborations have something to do with defamailiarization, just using different terms, in the literary history. We may think the source of defamailiarization is the Poetics by Aristotle who thought “surprise” is what a tragedy need. People are usually moved by unusual ways, so it is valuable to give common things uncommon atmosphere and this method is often used in the creation of poems. In order to create the atmosphere of surprise, Aristotle suggested that we should use strange words, which may borrow from other languages, may have metaphoric meaning, may be derived words or may be uncommon in other ways. Italian aesthetician Mazzoni added something new to the thought of surprise. He thought the poetic effect and the sense of surprise are closely related to image, fiction and creation. To realize this kind of peculiar effect, the author may choose some surprising subjects or materials. Germany Classical esthetician Hegel deepened the thought of surprise. He thought that what poetry wanted to show was something surprising by itself and the poet wanted to reveal something that had never been revealed. The language is a necessary device that a poet needed to improve the surprising effect and make a work fresh. However, with time flies, what is thought to be surprising in the past may be not surprising any longer and become idiomatic usage. In this condition, what a writer need do is to update and upgrade the conventional thought and make it become spiritual thing. Based on these former studies, Shklovsky, the representative personage of Russian Formalism, first put form the independent term “defamiliarization”, the core concept of Russian Formalism. The Russian Formalists perpetually underestimate content’s position. Content is not only not dominant but also not independent, attached to form. They think that all kinds of literary techniques and forms all aim to bring defamiliarization effect. 1.1.2 Introduction of Defamiliarization The term “defamiliarization” was first coined in 1917 by Victor Shklovsky (also Shklovskij) in his essay “Art as Device” (alternate translation: “Art as Technique”) (Crawford 2008:209). 6 天津大学 2013 届外国语言学及应用语言学专业研究生毕业论文 Defamiliarization, for Shklovsky, is a mean to distinguish art form everyday language. Russian Formalists think the technique of art is to make objects “unfamiliar,” to make forms difficult, to increase the difficulty and length of perception because the process of perception is an aesthetic end in itself and must be prolonged. Art is a way of experiencing the artfulness of an object; the object is not important (Shklovsky 1965). According to Russian Formalists, artistic language is different from practical language and this distinction is applicable to all artistic forms. The daily language has become automatized by frequent usage, so readers and hearers can recognize them by imprecise extensions. It is explainable that although we leave phrases unfinished and words half expressed, hearers can perceive the meaning of them by initial sounds. The perception path by defamiliarization and automatization are showed in the following figure. By defamiliarization language perception By automatization Figure1: Perception Path Automatic perception makes objects described fades and make the first impression lost. Artistic language aims to break this kind of automatization and generate the effect of defamiliarization, deepening impression. Therefore, the literary language is different from the daily language. But defamiliarization and automatization are not polarities which have nothing to do with each other. On the contrary, these two concepts are closely related to each other. We may regard them as a cycle process. Any kind of art comes into being with uncommon forms, but these kinds of forms will become common with so many people begin to imitate them, making them 7 天津大学 2013 届外国语言学及应用语言学专业研究生毕业论文 automatized. According to defamiliarization, all the expression forms of artistic work are not imitation, reflection or representation of reality. On the contrary, they are deviation, transformation and alienation because under the same stimulus, the longer the time is, the weaker the aesthetic feeling is. For example, if you stay in a garden for a long time, you can not feel the fragrance of flowers and if you stay in smelly house for a long time, you do not think it smelly. Therefore, the value of art lies in this kind of struggle of breaking cliché and creating new stimulus by defamiliarization. In macroscopic view, the Russian formalists put forward the concept of “canonization of junior branch” which looks at the literary history from the perspective of defamiliarization. This process is showed in the following figure. New New Canoniz- by defamiliarization ation New New Figure 2: Canonization of Junior Branch Russian formalists believe that there is no any father in the process of the literature development. In any literary era, there is more than one literary school simultaneously existing with only one as the canonization. However, the dominant literary school is not eternal. The other branches try to criticize and break the normal of the canonization and try to promote themselves to be the canonization. The former canonization lost their charm and substituted by new form continuously. Therefore, the development of the whole literature is a process of defamiliarization between different literary schools. 8 天津大学 2013 届外国语言学及应用语言学专业研究生毕业论文 In order to engender defamiliarization, we may take some defamiliarization devices: (1) Speech Sounds. When studying defamiliarization, Russian formalists firstly focused on the speech sounds of poetry. They think that speech sounds are the most important element of a poem and the implication of the poem is realized by arranging the speech sounds deliberately, such as alliteration, rhyme, onomatopoeia, malapropism or dialects. For a poet, the common words are material and what a poet deals with is the hidden things when the words are used automatically. (2) Syuthet and Fabula. This two concepts are discussed when it comes to novels. Fabula emphasize “content”, while syuthet is construction more than content. Fabula is chronological story including beginning, development, climax and ending, but in a novel, the four parts may be arranged in different order. Syuthet is the way the fabula is showed in a text. The writer arranges and processes the raw materials and makes it be syuthet. Defamiliarization is the way to render the fabula. (3) Impeded Form. It means to make forms difficult. The complex and difficulty of form can engender the sense of freshness and stretch the room of aesthetics. (4) Bared Form. It suggests that the reader should attach more importance to literary process, style and artistic technique rather than the plot which is imaginary. (5) Skaz. This concept is broad and it mainly refers to a narrative way which means the first person the writer chooses to narrate the story. For example, in the novel, War and Peace, the war is described form the perspective of a child. Defamiliarization must be a conscious device of writers and its target readers are native. We should distinguish defamiliarization device form two situation. One is unconscious aesthetic effect, including personal dialect. Idiolect is a language habit formed unconsciously by language users. Every writer has some kind of language habit which can not be awarded by them. Athough personal dialect has aesthetic value, it is different from defamiliarization which is created consciously by writhers. Besides, some expressions may be thought poetic and artistic form time to time, but actually, the writer did not make it like that on purpose, so this kind of situation is not included in defamiliarization. The other situation is the expressions which is conventional for native reader but is unfamiliar to foreigner reader because the target 9 天津大学 2013 届外国语言学及应用语言学专业研究生毕业论文 reader of defamiliarization is native reader. Though the expressions transplanted from conventional native expressions into foreign language make foreign reader unfamiliar, the native readers regard it normal. 1.2 Aesthetic Feeling Caused by Defamiliarization Literature is first and foremost a special way of thinking and knowing. Taking account of the author’s aesthetic pursuit and the readers’ aesthetic expectation, the defamiliarization is an important strategy to construct aesthetic feeling in literature. It is common for writer to present unfamiliarity and strangeness as well as eliminate habitual and automatized perception. 1.2.1 Defamiliarization and the Author’s Pursuit of Aesthetics It is believed that translation theory is closely connected with literary theory and aesthetic theory. Defamiliarization, first put forward as a literary theory, provided reference to translation theory and aims to realize aesthetic effect. Literature is a language art. Shklovsky (1965) thought “the technique of art is to make objects “unfamiliar,” to make forms difficult, to increase the difficulty and length of perception because the process of perception is an aesthetic end in itself and must be prolonged. Therefore, the writher uses creative structure as well as creative language to enhance the aesthetic power of literary works. They may arrange communicative clues which may be obstacles in the process of reading to stretch the distance of aesthetic feeling. For example, Russian writer Tolstoy, a representative often discussed by formalists, denied the cognitive thing and described them like the first time. Wang Guowei is the earliest Chinese scholar who discussed the formal beauty. He thought that the purpose and target of art is to make people exceed the reality and enter an aesthetic state. Therefore, he put forward that artistic beauty is higher than the beauty of life. (Ye Lang 2002:607 ) Jacobson thought the poetic function is predominant in literary work and Wang Dongfeng thought that author is poetics-oriented. The poetic value is realized by defamiliarization to a 10 天津大学 2013 届外国语言学及应用语言学专业研究生毕业论文 great extent. Authors always focus on the variations of language form and the choices of narrative technique so as to make the expressions associated with content depart from the convention and draw readers’ attention. (Wang Dongfeng 2001:44) Under the pen of writers, the language is more than a tool. It is also an aesthetic object. Properly surprising language will bring readers great effective power and charming experience. Wang Dongfeng clearly put it that defamiliarization is a critical element of the beauty of literary language. This kind of charm of beauty is what writers pursue. There are two kinds of language: conventional or common language and creative or unfamiliar language. Though the language convention make us can understand the meaning of a language easily, it lacks of power of emotion and aesthetics, such as touching, charismatic or convincing, especially in a literary work. Therefore, the literary language results from the competition between the conventional language and the creative language, not only delivering information but also affecting readers by impressive language. This kind of language makes the habitual language have new meaning and vitality and the customary syntax rules turn into a language art with new form and aesthetic value. When a writer wants to show his unique experience with language, he is always inclined to use a kind of difficult, roughened and impeded language to draw attention of the reader and lead them to think about the deep meaning of the article. This kind of language breaks the boundary of daily language and stretches the illocutionary power of works, leading the reader to go through the aesthetic process. It is believed that the beauty of a work depend on its form. Shklovsky believed that any new form did not aim to express a new content but to substitute the old form which has lost aesthetic features (Tzvetan Todorov 35). J. C. Ransom put forward “structure—texture” (构架——肌质说) in 1941. Structure refers to the work’s logical frame, while texture refers to the work’s external decoration. In another word, Structure mainly refers to the work’s content, while texture mainly refers to the work’s form. The structure is the carrier of texture and texture is the package of structure. Texture disturbs the clarity of structure by making a detour while the structure try to remove this obstacle make the logic clear. Structure has nothing to do with aesthetics while texture includes what is organized according to aesthetic purpose. Writers make use of this kind of conflict between them to enhance the difficulty of reading process as 11 天津大学 2013 届外国语言学及应用语言学专业研究生毕业论文 well as the aesthetic enjoyment. In the early twentieth century, Wang Guowei also proposed that every beauty is the beauty of form (一切之美皆形式之美也) . On the whole, the writer works on works’ language form and set many language obstacles, making their woks surprising, creative or unfamiliar, to realize defamiliarization which is the aesthetic pursuit of the writer. 1.2.2 Defamiliarization and the Reader’s Expectation of Aesthetics Literary works are spiritual works. Readers expect to obtain aesthetic pleasure by reading them. Unlike the daily language which caters for daily communication without individual characteristics, literary works aim to break through the reader’s horizon of expectation and force the readers to carefully enjoy and experience. In this way, they bring readers an unprecedentedly emotional impact and lead readers to get the aesthetic feeling. Readers want to obtain the sense of defamiliarization in their deep heart so that they can be moved and affected by the work. There is pre-structure and pre-understanding in readers’ minds before reading. It is hard for readers to find out the new fun and access to the aesthetic feeling if they read a literary work according to their pre-understanding. However, new and uncommon things can bring freshness and fun by imagine and satisfying curiosity. Therefore the literary work should be various. In order to reach this goal, the writer may introduce something uncommon and arrange all kinds of obstacles because this kind of thing can make some pleasure when imagining and make the soul has the sense of surprise. The process of understanding defamiliarization is a kind of aesthetic enjoyment for readers. The repeated stimulus can make readers feel boring and greatly reduces aesthetic pleasure. Readers may be puzzled and confused in the reading process, so they want to go further to find the result out. The process of following the steps of the writer and overcoming one and another obstacles makes readers can not overlook the whole story clearly, intriguing their interest. This kind of slowly understanding draw readers interest to appreciate the work carefully, stretching the metal process of artistic experiencing and deepening the effect of it. 12 天津大学 2013 届外国语言学及应用语言学专业研究生毕业论文 Chapter 2 Aesthetics in Zhang Peiji’s Essay Translation Works Zhang Peiji was born in Fuzhou, Fujian Province, in 1921. After graduating from the English Literature Department of St. John’s University, Shanghai, in 1945, he worked as a journalist of the English edition of The Shanghai Herald, contributing editor of the English edition of The China Critic and deputy editor of the English edition of China Year Book. In the second year, he worked as a translator and interpreter at the IPS (International Prosecution Section) under the International Military Tribunal for the Far East in Tokyo. Then he went to Indian University, USA, to study English Literature. He returned to China in 1949. Then he worked successively as editor of the Beijin Foreign Languages Press, English professor of the PLA Foreign Languages Institute, English professor of the Beijin International Business and Economics University and the editor-in-chief of the publishing house of this university, translation consultant of the Beijin Foreign Languages Press. Currently, he is a consultant to The World of English. Having been in the translation field for many years, he has written by himself and participated the writing many translation tutorials, including On English Echoic and Color Words in C-E Translation (1964), How to Translate Chinese Idioms into English (1979), A Course in English-Chinese Translation (1980), The Chinese-English Interpreter’s Handbook (1984). Besides, his translation work is rich and mainly about essay or prose translation. The translation is Chinese-English translation, which is the shortcoming of Chinese translation study and practice. Four Selected Modern Chinese Essays have been published. The latest Selected Modern Chinese Essays 4 was published in 2012. As a famous translator in China, has devoted himself to translation practice and made great contribution to the translation study and diffusion of Chinese culture. 13 天津大学 2013 届外国语言学及应用语言学专业研究生毕业论文 2.1 Aesthetic Value Measure of Essay Translation The concept of prose can be understood both in broad sense and narrow sense. Broadly speaking, prose is a literary medium distinguished from poetry, especially by its greater irregularity and variety of rhythm and its closer correspondence to the patterns of everyday speech (Net). Narrowly speaking, prose is a style which has same position with poetry, novel and drama and it can be classified into report works, literary messages, biographer’s works, lyrics, essays and travel essays, preface and postscript, memoir, and scientific works etc (Gong Guangming 2004:433). What can bring aesthetic feeling in essay? The language structures and ideational contents are the first things that should be taken into consideration in translation between languages, but literary translation needs representation on higher level to realize aestheticism and artistic reproduction. According to Liu Miqing (Liu Miqing 2005:88), the aesthetic subject is limited by aesthetic object in translation including the translatability of the formal beauty of the source language and the non-formal beauty of the source language and cultural difference. Therefore, the aesthetic value measure is multidimensional. Only those which include the aesthetic value in aesthetic evaluation can be regard as aesthetic object, so the general attribute for aesthetic object depends on its value of arousing the delightful feeling of the aesthetic subject. The formal aesthetic system is defined as the natural properties and combing patterns of the substantial material that constitute the external form of a certain aesthetic object. It is manifested on different levels of language including phonetic, lexical and syntactic levels. According to Liu Miqing (2005:141), the non-formal aesthetic system mainly contain four essential components, i.e. sentiments (情), ideals (志), images (意) and symbols (象). Sentiments and ideals are merged together to form an important part of the internal beauty of a literary work. Only the translator get the connotation of the sentiments and ideals which is penetrated by the author in the source text can she or he reproduced the style of the source language successfully with proper words. Image and symbols are similar concept. They are the incarnation and reflection of the author’s sentiments and ideals. The image relies on the author’s careful selection on objects and the symbol come from the 14 天津大学 2013 届外国语言学及应用语言学专业研究生毕业论文 author’s visual-mined activities. The sentiments and ideals are manifested in certain symbols and images. The combination between images and symbols can construct the artistic conception or imago, which is the soul of non-formal aesthetic system. The aesthetic object in essay is determined by the characteristics of modern Chinese essay. There are two characteristics in modern Chinese essay. Firstly, the distinct feature of essay is “free”, that is, unfixed pattern in its construction. So it is necessary to take the beauty constructed by writing technique into consideration. However, the rule of “free form, but sentiments focused” must be obeyed. Besides, essay is the unity of truth and imagination and it is the unity of feeling and thought. To get emotion and ration from truth is the basic aesthetic feature of essay, so it is important to emphasize the empathy of essays. Essay should make readers feel that they are in real scene and experience the real thing by imagination, then make them harvest aesthetic enjoyment and inspiration. Usually, essay prefers the creation of image and artistic conception by real truth, especially the description of life scene and details. Therefore, it is necessary to take non-formal aesthetics into consideration. “Since the main purpose of essay translation is to express to target readers both the message and the aesthetic value of the source text so as to make the readers ideologically inspired and aesthetically entertained, it is proposed that the criteria of essay translation may be summarized as faithfulness, expressiveness and beauty” (Liu Zhuyan 2013:120). Combining the aesthetic value measure in translation proposed by Li Miqing and the characteristics of essays, it is wise to consider the realization of aesthetic object from formal level and non-formal construction and cultural elements. 2.2 Aesthetic Thought in Zhang Peiji’s Views on Translation Zhang Peiji thinks that essay is “what the author is”. “Whatever the author is” can be regarded as his translation principle towards essay. The process of essay translation is a process of essay writing. A translator should reproduce the content and form at utmost to arouse reader’s aesthetic emotion. In A Course in English-Chinese Translation, Zhang Peiji clearly put forward his 15 天津大学 2013 届外国语言学及应用语言学专业研究生毕业论文 translation criteria: faithfulness and smoothness. Faithfulness refers to be faithful to the content as well as style of the original work. The so called style includes national style, period style, stylistic style and writer’s personal style (Zhang Peiji 1980:7). Translation must be similar to the original work. If the original work is colloquial style, the translation can not be literary style; if the original language is coarse, the translation language can not be decent; if the original work is full of western flavor, the translation can not be full of oriental style. Smoothness means that translation must be coherent and intelligible, confirming to language norm (Zhang Peiji 1980:7). Smoothness demands that there are not obscurity and clumsy disposal in a translation. Zhang Peiji thinks that these two criteria are complementary. With faithfulness and without smoothness, the translation is not intelligible and with smoothness and without faithfulness, the translation is not a translation at all. Zhang Peiji thinks that faithfulness is prior to smoothness, if they are contradictive. He said that faithfulness is the first issue of translation criteria (Zhang Peiji 1980:7). At the same time, he emphasizes that the degree of smoothness should be consistent with or equivalent to that of the source text in some situations (Zhang Peiji 1980:7). In some literary works, writers may adopt or quote some nonstandard language to portray characters and render the atmosphere. Then translators should notice this situation and try their best to convey these nonstandard expressions instead of pursuing of smoothness unilaterally. These phenomena are component of original style and they have common ground with defamiliarization. So Zhang Peiji has noticed the importance of convey defamiliarization devices. In order to realize faithfulness and smoothness, translators should thoroughly understand the original work, and precisely represent it in translation. Zhang Peiji believes that “the translation process is to analyze the original precisely and to reproduces it in another language creatively.” (ZhangPeiji 1980:9). He provides two approaches of translation: literal translation and free translation. Literal translation is to maintain both content and form of the source text, especially metaphors, images, national and local color of the source language and so on, if only it is allowed in target language (ZhangPeiji 1980:12). Free translation requires the target language precisely convey the content of the source text without sticking to its form (ZhangPeiji 1980:13). But he believes that literal 16 天津大学 2013 届外国语言学及应用语言学专业研究生毕业论文 translation is not mechanical translation or servile translation and that free translation is not casual or uncontrolled translation. He insists that “literal translation is prior to free translation if the content of the source text can be completely convey without violating of the norm of the target language. On the one hand, literal translation can maintain the style of the original and exotic atmosphere. On the other hand, literal translation can introduce new and vivid words, syntax structures and expressions so that our mother tongue can be enriched improved and fined” (ZhangPeiji 1980:14). The eternal aim of literal translation and free translation are both for the conveyance of content and style of original works, so we can regard them as two approach to realize defamiliarizationl. If literal translation can covey the same defamiliarizationl form or bring exotic atmosphere without violating the regulation of target language, it can be used and if literal translation can bring obscure rather than understandable defamilirizaiotn, free translation should be taken into consideration. 2.3 The Strategy of Defamiliarization Translation The translation of essay is an aesthetic translation. Essay makes language become something with aesthetic value and this value can be apperceived artistically. Readers browse some essay casually, attracted by it and get a deep heartquake. In order to get a successful translation, translators should take the aesthetic needs of target readers into consideration, but the premise is that the translator should possess aesthetic power and creative power of recreating aesthetic effect. The aesthetic value of essay is presented in all kinds of aspects by defamiliarization, so the translator of essay should have the aesthetic power to identify and appreciate these defamiliarizations. As defamiliarization is the method to create essay works, it is necessary for translators to focus on the creation of defamiliarization, too. In other words, it is necessary to represent and create the defamiliarization in translated texts in consideration of the aesthetic needs of target readers. On one hand, the defamiliarization devices of the original work must be presented in target texts. On the other hand, translator must pay attention to the value of defamiliarization and make use of defamiliarization in the process of creating translated texts. it is possible for 17 天津大学 2013 届外国语言学及应用语言学专业研究生毕业论文 translators to take defamiliarization translation into consideration in that two terms due to the flexibility of language. Readers expect to read a translation as reading an original work and defamiliarization contains the profound meaning of writers, so the defamiliarization devices of the original work must be represented in target texts. In order to represent them, translators should fully recognize the defamiliarization devices of the original texts firstly. And then they should think whether the defamiliarization devices of the original texts are acceptable to the target readers and whether the same defamiliarization devices in target language will reduce the readability of the target text. In order to maximize aesthetic value on the basis of keeping the content of original works, translators may take two techniques: maintaining the defamiliarization device of the original text and transforming the defamiliarization device of the original text. If a defamiliarization device is strange to readers of source language as well as target language, the translator can maintain this device to maintain the strange effect. However, if a defamiliarization device is strange to readers of source language but not strange to readers of target language, translators can change the defamiliarization device to make it breed the same defamiliarization aesthetic effect. Likewise, if a defamiliarization device is strange to readers of source language but the degree of strangeness is unacceptable for target readers, translators can also transform the defamiliarization device to make it acceptable. Otherwise, the excellent language and the reading effect will hard to digest to the target reader, not to mention the aesthetic effect. Considering the difficulty of transformation, many translators often choose to avoid this kind defamiliarization and rephrase it with direct language, but in this way, the language aesthetic effect of target texts will be unfaithful to the original texts. Therefore, defamiliarization should be transformed and represented instead of neglecting it though this process is hard. According to the difference of languages, Alexander Tytler said that the Translation should have all the ease of original composition (Andre Lefevere 2001:128). It is wise for translators to change defamiliarization devices to retain the norm of target languages, break through the obstacles of language form, and make full play to the vitality of target language. Translation is a creative activity, so translators should bring their subjective initiative into play and explore the potential of the target language, guiding readers feel the aesthetic 18 天津大学 2013 届外国语言学及应用语言学专业研究生毕业论文 enjoyment of reading a native work rather an uncomfortable translation. These two techniques both try to maintain the strange elements of the foreign texts and abuse the norm of the target language by using unsmoothed, unclear and unidiomatic usage to create strange feeling. It is necessary to make use of defamiliarization in the process of translating in consideration of creative feature of translation. Though translation tries to make the content and form of the original work transformed into translated text, if we do not consider the difference between source language and target language and the function of defamiliarization in the creation of target language, it is a kind of loss to readers of target language. Sometimes, it is necessary for translators to rewrite the original texts and add defamiliarization devices to reveal the blank and silent element of the original text. Liu Miqing thinks that rewrite aims to get rid of the limitation of original form and rearrange it on the basis of target language, seeking to maximize the expectation of the translators (Liu Miqing 2005:311). In order to maximize the aesthetic effect of defamiliarization, translators should add some defamiliarization devices. But translators should keep a suitable degree. What distinguish translation from creation is the foundation —— original text. Translated texts are generated on the basis of original texts, so no matter how eager a translator want to translate freely, he or she has to deal with the translation in accordance with original texts. What’s more, Translators should take into consideration of the necessity to keep the original expression as it is when an expression maybe is common to the original reader but it is fresh and meaningful to the target reader. The original text is strange to the target readers, but the target readers can regard this kind of strange as defamiliarization if possible and use foreign expression to decorate native language, making translation characterized by exotic atmosphere. Some translators transform the fresh, strange and difficult expressions of the original texts into common expressions which the target readers are familiar with. It is conservative. As it is a translation, readers have prepared to accept the different and strange expressions. It is inappropriate for translators to look down the readers’ receptive ability. On the contrary, to keep the heterogeneity can breed retardant and improve the reader’s aesthetic enjoyment. At the same time, by introducing the unique expressions, new life and vitality will be brought into target language, making target language become rich incessantly. 19 天津大学 2013 届外国语言学及应用语言学专业研究生毕业论文 Chapter 3 Aesthetic Realization of Defamiliarization in Zhang Peiji’s Translation Works Generally speaking, Chinese essay and English essay are different in art tradition, material chosen and approaches, but their artistic spirit and aesthetic pursuit are common. These common features not only provide the basis for performing essay thinking effectively, but also offer the possibility for fulfilling themselves by translation (Gong Guangming 2004:456). In perspective of defamiliarization, the artistic spirit and aesthetic pursuit is realized by defamiliarization. 3.1 Aesthetic Realization of Defamiliarization in Material Selection The materials chosen by Zhang Peiji to translate are not random. He chooses his translation materials carefully. In terms of genre, he prefer to choose classic Chinese essay as source text; in terms of subject matter, he selected essays are full of Chinese flavor. 3.1.1 The Selection of Chinese Essay The achievement of translation of essay is not as powerful as essay in native language in China. Lu Xun (1958) thinks that the success of essay is almost beyond novel, drama and poem, but we find that there are less essay translations than novel translation, drama translation and poem translation. Therefore, as a kind of translation which is dealt with rarely, essay translation can easily arouse reader’s curiosity. Besides, English essay is different from Chinese essay. English essay is mainly about rational exploration but Chinese essay emphasize personal spiritual experience. The main idea of Chinese essay is gained by fostering (养) and that of English essay is obtained by thinking (思). Zhang Peiji aims to introducing culture, including essay to foreigners. Then the thought of Chinese essay will give new blood for western essay. In addition, what most Chinese translators do is English-Chinese translation. Zhang Peiji opened a new road for Chinese translation practice. He focuses on Chinese-English, making 20 天津大学 2013 届外国语言学及应用语言学专业研究生毕业论文 the English version full of newness for both Chinese readers and English readers. 3.1.2 The Selection of Subject Matter with Chinese Feature Zhang Peiji (1999) exclaims in the preface of Selected Modern Chinese Essay 2 that “I translated some essays from time to time recent years. The first reason is for fun; the second reason is my enthusiasm on English language and essay; the third reason is for the introduction of excellent modern Chinese essay to foreign countries. Upon the establishment of the People’s Republic of China, many poems, novels and dramas have been translated into English except essays. It’s really a pity.” For those purposes, he choose classical Chinese essays written by prestigious authors since the May 4th Movement, including Xia Gaizun, Zhang Henshui, Bing xin, Lu Yin, Liang Shiqiu, Huang Yaomian, Shi Zecun, Shao Xunmei, Xiao Qian, Ji Xianlin, Liu Baiyu, Huang Qiuyun, Lin Haiyin, Wu Guanzhong, Ke Wei, Gao Mang, Zhe Zhong, Wang Meng, Xiao Feng and so on. XiaoQian wrote a lot of essays set against the backdrop of World War II. Though World War II is a global war, China then is not realized by foreign people and the War of Resistance against Japanese Aggression is beyond many foreigners’ knowledge. About Hong Kong, Spirit of Edgar Snow, Recalling the Construction of the Yunnan-Burmese Road, and If I Were a Japanese are all works introducing China in a certain era; Ji Xianlin’s Peking University and I introduces a famous Chinese university and his The Shanghai Food Market is a profile of some district of China; The Photographic Record of My Childhood gives readers a classic growth process of Chinese children……These essays are works rooted in traditional Chinese and local culture with abundant exotic atmosphere and it is predicted that foreign readers are curious about them, expecting to appreciate them carefully. 3.2 Aesthetic Realization of Defamiliarization in Formal Aesthetic Value The formal value is vital to the artistic quality. Without the insight to value on formal level and representation of aesthetic value on this level, there is no successful translation. For essay, the primary purpose is not to convey information but to convey beauty. Form is endowed with 21 天津大学 2013 届外国语言学及应用语言学专业研究生毕业论文 meaning in itself instead of a carrier of meaning. The meaning of form is closely associated with intention of writers and the aesthetic effect of works, so translators should pay their attention to the conveyance of defamiliarization in formal level. According to Liu Miqing (2005), the formal aesthetic system refers to the features of form of a language such as the feature of phonology, lexicon and syntax. It is the so-called “beauty of form”. 3.2.1 Aesthetic Realization of Defamiliarization on Phonetic Level Phonetic level is the basic level of language, which pay an important role for the effect of reading. Russian Formalists began to pay attention to this level from early time. Phone is helpful for the establishment of theme except musical effect. Russian Formalists think that the speech sounds are chosen by author consciously and the certain speech sound may express certain emotion. It is speech sounds bring illocutionary meaning. The subtle change of any speech sound may bring the change of meaning. Therefore, the translators should represent the musical beauty of original work and make it match with the theme of the work. On phonetic level, the scholars who study defamilirizaion pay attention to rhyme, including alliteration and end-rhyme, onomatopoeia, and dialect. Alliteration refers to the repetition of consonants or consonant groups of continuous words. End-rhyme refers to the same of the last syllables of more than two words. Example 1: “玉米穗成熟。牧场遍地花怒放;小鸟终日歌唱好悠扬，娃娃滚戏小农舍地板上。” “The corn top’s ripe and the meadow’s in the bloom. While the birds make music all the day, the young folks roll on the little cabin floor.” ——Old Black Joe and Other Songs (Zhang Peiji 2012: 109-112) It is a song describing the life of black people who lives in South America. “放” “扬” and “上” share the same end-rhyme “ang”, showing the peace and ease of their life. Zhang tries to imitate the musical beauty of original song, but he uses alliteration instead of end-rhyme to represent this kind of aesthetic effect with the same /m/ of “make” and “music” and same /f/ of “folks” and “floor”. Onomatopoeia is meant to the imitation of all kinds of sounds in nature, by which 22 天津大学 2013 届外国语言学及应用语言学专业研究生毕业论文 imitative words produced. Onomatopoeia is not only an important method of word-building, but also an important figure of speech, which can render the acoustics of language and stimulate the auditory nerves. If properly used, this device can exaggerate impression, momentum and dynamic effect. Generally, common imitative words are helpful to color pale sentences and can improve their infectivity (Zhang Peiji 1979: 5). By using imitative words, such as dang, ding-dong and clip-clop, the energy of whole sentence is increased and a sequence of picture will come into sight by imagination. When translating imitative words, the difference between languages should be noticed. Generally speaking, imitative words are used as adjunct to modify verbs in modern Chinese, but they are used as verbs, nouns and derivations in English in most conditions. However, the precision of imitation does not matter. What matters is that the imitative word can leave a lifesome impression on readers, making them learn about the meaning by sounds and by past life experience (Zhang Peiji 1979:11). In some conditions, the Chinese sentence is not expressed by imitative words, but in order to make translation more appealing and real, translators may choose imitative words to express the meaning of the Chinese according to the context. Example 2: ( 特别是女士们。在家中穿的朴朴素素，但是一出门，特别是参加什么“派对” party, 借用香港话)，则必须打扮得珠光宝气，花枝招展，浑身洒上法国香水，走在大街上， 高跟鞋跟敲地作金石声，香气直射十步之外，路人为之侧目。 Women dress casually at home, but when they go out, especially when they attend parties, they have to be gorgeously dressed and sprayed all over with French perfume. On the streets, the loud clip-clop of their high-heeled shoes and the strong aroma of their perfume will attract public attention far and wide. ——On Packaging (Zhang Peiji 2012: 164-168) When high-heeled shoes hit the ground, there must be a sound. In the Chinese version, the sound of collision is described by a metaphor. By thinking about the sound of collision between metal and stone, readers can imagine what kind of sound it is when the high-heeled shoes collide with the ground. Zhang take advantage of imitative words rather the same metaphor to make the language vivid. The word, “clip-clop”, not only illustrates the action of collision but 23 天津大学 2013 届外国语言学及应用语言学专业研究生毕业论文 also the concrete sound. Though the defamiliarizaion devices taken by the writer and the translator are different, they both make contribution for the same aesthetic appealing. Besides, “派对” is a the transliteration of “party”. As transliterated words, the original “派对” can trigger unfamiliar effect for Chinese readers, but the unfamiliar effect can not be maintained because the translated word is form the English word “party”. If the transliterated word is form the third language, then the translator can keep the unfamiliar effect by transliterating the third language. Dialect is also a defamiliarizaion device in phonetic level. Dialect not only can not only convey the meaning of words but also indicate the identity of the characters and the place of the story. Meanwhile, dialect is helpful for the creation of fresh feeling and reality of the work. When translating dialect, Zhang uses footnotes in order to maintain the unfamiliar effect. “Legation Quarter” is Beijing dialect. It is the district in Beijing where legations of big powers were located between 1861 and 1959. “Turbaned Indian policemen” is Shanghai dialect. It refers to turbaned Sikhs hired b the Municipal Council of the then International Settlement in Shanghai to police the streets. These dialects are unfamiliar to native and target readers. In Old Black Jae and Other Songs, Zhang keep the unfamiliar effect by keep the unfamiliar language, but limit the defamiliarizaion effect to understandability by adding footnotes for them. If the phonetic form is lost, the acoustics will disappear, too, though the meaning is transformed into target language. Translator must overtime the obstacles between two languages, which does not mean the relationship between the original text and the target text is broken up, on the contrary, the translation tries to keep the feature of the target language as well as the original language. 3.2.2 Aesthetic Realization of Defamiliarization on Lexical Level Defamiliarization indicates the difference between aesthetic language and everyday language. The choice of words is a critical part in the creation of literary work. The defamiliarization devices in lexical level include special collocation, pun, loanword, coinage, repetition and the more. Collocation is usually fixed because of the limitation of convention, but writers are good 24 天津大学 2013 届外国语言学及应用语言学专业研究生毕业论文 at breaking through this kind of convention to show their unique emotion and experience by using oxymoron, zeugma, syllepsis, transferred epithet, personification, synaesthesia and so on. These figures of speech can make the language more precise and colorful, enhancing their artistic appeal. Translators should try to keep them. Zeugma refers to the use of a word to modify or govern two or more words when it is appropriate to only one of them or is appropriate to each but in a different way (Net1). In contemporary rhetoric, it is interchangeable with syllepsis to refer to a figure of speech in which the same word is applied to two others in different senses. Usually, the translator can use same words to transfer the zeugma and prolong the aesthetic time of defamiliarization. Zhang peiji also thinks about adding zeugma and rendering the defamiliarization effect. Example 3: 我们要随时随地为别人着想，维持公共秩序，顾虑他人的利益，不可放纵自己…… We should be considerate of others at all times and places, caring for public order and interests and abstaining from self-indulgence. ——Cultivating Good Habits (Zhng Peiji 2012: 62-65) “公共秩序” is modified by “维持” and “他人的利益” is modified by “顾虑” in the original Chinese version, but Zhang take account of creating a defamiliarization feeling with zeugma. He uses a single verb phrase “care for” to modify “public order” and “interests”. “Caring for interests” is an idiomatical expression but “caring for public order” is not as common as the former. The creation of a new zeugma makes contribution to extending the aesthetic feeling of defamiliarization. Synaesthesia is a figure of speech, which is an aesthetic creation aiming at satisfying aesthetic needs and pursuing aesthetic value. Its aesthetic vigor exists in the mix of senses of sensory organs. With emotion, writhers capture the superficial image and connect all kinds of sensory organs to create affluent sense, stretching the aesthetic border of the image. What can be felt may be tasted or smelt. Though the sensory organ is different, the atmosphere of the later is as imaginative as the former. Zhang is good at finding the beauty of the original essays. He digs the scope of sensory organ and enlarges the scope of senses, creating same aesthetic potential. Thus, the reader’s potential of artistic feeling is dig out, too. The picture of the whole 25 天津大学 2013 届外国语言学及应用语言学专业研究生毕业论文 scene described becomes attractive. Pun is a play on words, which can bring sense of humor and obscure. It is the humorous use of a word or phrase so as to emphasize or suggest its different meaning or application, or the use of words that are alike or nearly alike in sound but different in meaning (Net). Pun, no matter phonetic pun or semantic pun, makes words contain two levels of meaning. The superficial meaning is easy to get, but the deep meaning is veiled and should be dig out by the readers with a second thought. Translators should keep pun as it is if it is possible. Loanword is used by writers for certain purpose. This kind of words can not only make the story real and the character intensive but also create defamiliarizaion effect. If the foreign expression is target language by itself, then it lost its unfamiliar effect when translated into target language. In a Chinese essay, an unmeant English expression is a defamiliarizaion, which make the story realistic and give readers a sense of surprise. But as it is the target language, the surprising effect can not be maintained in the target language. However, if an expression is the third language rather than the target language, the translator should keep it to maintain the defamiliarization effect, or the complexity of the original work is reduced. This is what Zhang did in his essay translation. Zhang keep this kind of distance to indicate that Chinese and Other languages are different. Thus, the English readers can share the sense of distance between Chinese and other languages as well as Chinese and English. Coinage gives full play to the flexibility of language. In English, new words are created based on the existing roots and affixes, and writers can create surprising aesthetic effect by creating new words. In Chinese essay, the most used coinages are names, including names of people and things. Usually, there are deep meanings hidden behind names of roles or places. It is valuable to understand the deep meaning. These meanings are familiar to Chinese, but the foreign people may have never heard them before, so if the original coinages are conveyed directly into English, The English readers will impressed by them. At the same time, the Chinese culture can be further realized by the foreign readers. Zhang keep the defamiliarizaion effect by translating it into Chinese phonetic alphabet and ignoring its hidden meaning, keeping the aesthetic feeling of defamiliarizaion. Repetition is a kind of device to bring impressive emotion and deep aesthetic feeling. By 26 天津大学 2013 届外国语言学及应用语言学专业研究生毕业论文 repetition, readers can easily feel that the protagonist is entangled with some emotion in the whole process and their aesthetic feeling will be enhanced and prolonged, too. However, Zhang Peiji, like other translators, usually tends to avoid repetition, eliminating similarity and reducing monotony. In the way, the sentence is more concise, but the author’s strong feeling contained by repetition may be weakened. Therefore, no matter how creative the translator is, the translation should not get rid of the limitation of the original work. But Zhang does not always ignore repetition. He also saw the distance and strong feelings caused by repetition and kept it in some sentences. The vast distance is not only temporal but also spatial. By repetition, the reader feels the process how the mind of the subject change gradually. 3.2.3 Aesthetic Realization of Defamiliarization on syntactic Level Defamiliarization is a perfect combination between meaning and form, so the conveyance of form is as important as the conveyance of meaning. Translator should focus on conveyance of meaning as well as form at the same time. A sentence must be organized according to certain grammatical norm. The normal order of sentence constituents is SVO. Subjects are followed by predicates which are followed by objects. This kind of order can reduce the difficulty of cognition. However it is common for writers to disobey grammatical rules for certain artistic purpose. It is wrong to think that writers try to find appropriate form for certain meaning. In fact, writers have to carefully think about form so as to express abundant meaning. In order to make their work fresh and powerful, writers dedicate to breaking through the frame of language and using all kinds of defamiliarizaion devices in syntactical Level. The everyday grammatical rule is transformed into a language art with new form and new aesthetic value. Therefore, translators should not neglect the illocutionary power of sentences. They should make full use of the flexibility of language to obtain the corresponding artistic effect. Sometimes, there is the lack of subjects, predicates or objects in the original Chinese version to show the expletive sense without dedicating what the definite content which the character is thinking is. Readers have to guess and imagine, spending more time in experiencing the plot of the story. Zhang directly shows his deduction. He thought the author 27 天津大学 2013 届外国语言学及应用语言学专业研究生毕业论文 tries to sign with emotion that people’s emotion is too fragile. Though he gives the content of expletive sense, he adds suspension points behind the content to guide the target readers to think further. Thus, the target reader’s emotion is prolonged, too. Sometimes, the conventional sentence order is changed. A translator may pick up a single phrase to make it become a single clause, emphasizing the theme of the article. However, the translation is more emotional by transferring the attribute to other places of the sentence, no matter the beginning or the end, and maybe making the adding element is punctuated. Then the atmosphere contained is deepened in this way. Probably, a translator uses inversions to guide readers’ visual perception and lengthen the process of felling. The advance verb stimulates readers’ visual reaction and curiosity to further explore what are other things. Following the author’s guidance, readers can explore the whole scene as well as the emotion within. The following is an example. Sometimes, writers may add some other constituents between the constituents that be supposed to be adjacent and make readers to spend more time on the understanding of the sentence, bringing special aesthetic effect for the sentence. Likewise, translators can also add some constituents to make the process of artistic appreciation more concrete. Example 4: 中年人干吧，我们的前途还遥远着呢～ Middle-aged fellow countrymen, roll up your sleeves to strive for our ultimate goal! ——Getting Married at 81 (Zhang Peiji 2012:8-10) The original version only use “干吧” to call upon the middle-aged to struggle, but Zhang adds “roll up your sleeves” in front of “strive” to make this summon more precise and inspiring. “Roll up your sleeves” is an idiom, which means to make preparation for an enduring event. The addition of this action makes readers form a picture of hard working in their minds and brings them more aesthetic enjoyment. Sometimes, the pale expressions of sentence are substituted by idioms for creating aesthetic feeling. If the original clause is also translated into pale expression, the aesthetic feeling would be weakened. Idioms are more vital than pale expression. Sometimes, the ancient expression is used to strengthen the power of language. In order to 28 天津大学 2013 届外国语言学及应用语言学专业研究生毕业论文 strengthen the emotional appeal, especially the appeal of call, the original writer may use some ancient style, such as Li Sao Style (a literary form of ancient poet developed from ballad of Chu State with Li Sao as its famous representative work). This unfamiliar but imposing language can easily arouse readers’ emotional resonance. Zhang choose subjunctive mood to realize the same effect and he may use capital letter to deepen this effect, such as “PATIENCE” in Patience to enhance the power of summon for patience. Parallelism can bring through the expectation of readers because of its overregularity, so it is an important defamiliarizaion device. It refers to the expression of similar or connected things by words, phrases or sentences which are same in terms of structure and function. There are differences in the same in this kind of sentences and they bring the beauty of rhyme, music and harmony. Zhang Peiji maintains this structure to a large extent and deepens readers’ impression as effective as possible. 3.3 Aesthetic Realization of Defamiliarization on Non-formal Level Liu Miqing thinks that the comprehension in aesthetic evaluation has different levels, which can generally be divided into two levels: formal level and non-formal level. The formal level is largely embodied in phonetic, lexical and syntactic levels whereas the non-formal level is mainly embodied in artistic conception, stylistic features, writing technique and cultural levels (Liu Miqing 2005:215). Usually, imagery is a mean of reinforcing impression and the construction of artistic conception is based on images which are in certain space. By certain writing techniques, images are connected with each other. Emotion and scenery are combined and sentiment and image are harmonious in certain artistic conception. 3.3.1 Aesthetic Realization of Defamiliarization in Image Peter Newmark thinks that meaning is a complicated concept, including full sense, such as denotative meaning, connotative meaning and all that the writer said (Peter Newmark 2003:56). The full sense of an image may be different under different language backgrounds, so translators have to consider whether to maintain or rewrite the image of the original texts. 29 天津大学 2013 届外国语言学及应用语言学专业研究生毕业论文 The meaning of image is abundant and image can be regard as a defamiliarization device. Image is a way of abstraction and it is only the abstraction of one of an object’s characteristics. Image can addresses the senses, suggesting mental pictures, sights, sounds, smells, feelings and action and help to make various objects to combine with each other to form groups, clarifying the unknown by the known. There is no difference between saying that a place is quiet and saying that a place is as quiet as a temple, but the former has nothing to do with aesthetic enjoyment. It is not easy to reconstruct the artistic conception by image in essay translation because of the difference between Chinese and English in thinking pattern, aesthetic psychology and historical allusion. Generally speaking, maintaining the original image is feasible. If the same form can be taken in the translation to realize same artistic effect, the translation can take it without hesitation. Such as “temple” is the representative of quiet place. Though there are not so many temple in English countries, but the connotation within is shared in China and abroad. Maintaining the image can make readers think about the quietness of the corridor by thinking of the quietness of ancient temple. Lu Xun (1985) said that translation should find a middle ground between the two proposals: understandability and maintenance of original charm. It is manifested perfectly in Zhang Peiji’s Translation. The image of “mountain” is substituted by “tree” under some circumstance. Though these two images are different, they are both vivid and understandable when guiding readers to trace back to the source. The maintenance of original charm means that the translation must have the same form, style and stylistic feature as the original one, but these should cater for the code of target language. Emphasis on the maintenance of defamiliarization device does not mean the maintenance without considering the difference of languages. This is especially true when deal with images which are full of ethnic flavor. Because of the difference of culture, it is hard to make use of the identical defamiliarization device to realize defamiliarization effect. At that moment, translators should make a little change and represent the aesthetic effect. Only in this way, the images in essay can create the strongest impression. The following is an example. Example 5: 近两年，受商潮的冲击，不少人忽视了自己形而上的精神世界的滋养与丰富，而一 30 天津大学 2013 届外国语言学及应用语言学专业研究生毕业论文 味地钻进了孔方兄的网络里难以抽身。 In recent years, due to the impact of commercialism, many have gone in for money-making and ignore the development and enrichment of their spiritual world. ——Libraries are Indispensable like Food (Zhang Peiji 2012:143-146) The coin with round shape and square hole within is unique and his kind of coin is used in ancient China. To regard coin as brother is fresh and interesting. Within Chinese cultural, Chinese reader may think the expression is visual, but this effect can not be realized for foreigners who are under the backdrop of western culture. If the translator transfers this personification mechanically, then the sentence will be beyond of understanding. Therefore, Zhang choose an English idiom “go in for” to enhance the power of the sentence. In addition, the word, “网络”, makes readers to depict a picture that a man struggle in a ball of complicated net. The tangled feeling is vivid, but this picture can not be recreated due to the difference of cultural image between China and English World. Besides, the meaning of figure of speech is valuable. When it comes to metaphor, we should be concerned with the originality and uniqueness of a metaphor. Metaphor can express abstract things and bring some things new to readers. The same defamiliarization device in the target language may bring obstacle on understanding, but by lingering over, the readers can get more aesthetic enjoyment. Absolutely, the tenor in translated version is the same with the original version, but the selection of vehicle (喻体) is more feasible. If the original vehicle is fresh to target readers, then it can be maintained, but if the fresh feeling can not be maintained in target language by using the same vehicle or the effect of defamiliarization is beyond the readers’s ability of understanding, the original vehicle can be substituted by other vehicles. 3.3.2 Aesthetic Realization of Defamiliarization in Artistic Conception The images changes little from century to century, from nation to nation and from essay to essay and the changes that pay more important role is the techniques by which writers arrange and develop their resources of language. Essays are much more concerned with arranging images and materials than creating them. Essay is a complete organism with unique 31 天津大学 2013 届外国语言学及应用语言学专业研究生毕业论文 artistic conception. Good writers not only pay attention to what they write but also how they arrange the materials to make the whole scene attracting. They often describe a scene but do not point out that what is happening, who is carrying out this action and how does it go on step by step until the readers’ interest is draw. For this purpose, they need defamiliarization devices, including narrative order, and narrative perspective and so on. These defamiliarization devices make the work depart from common practice and bring the sense of defamiliarization. Therefore, when the writer of original work adopts some unique devices in organizing materials and images, the translator should pay attention to them and also make these devices as unique as it is. In terms of narrative order, writers may adjust the narrative order of a story. Usually, the development of every story is either continuous or logical and the traditional writer may maintain this kind of order, but more and more writers tend to disobey chronological sequence or logical order and turn to other orders. Example 6: 不只是菜摊子这样，其它的摊子也莫不如此。卖鱼的摊子上，活鱼在水里游泳，十 几斤重的大鲤鱼在案板上。卖鸡鸭的摊子上，鸡鸭在笼子里互相召唤。卖肉的摊子上， 整片的猪肉、牛肉、和羊肉挂在那里。还为穆斯林设了买牛、羊的专柜。在其他的摊子 上，鸡蛋和鸭蛋堆得像小山，一个个闪着耀眼的白光。咸肉和板鸭成排挂在架子上，肥 的仿佛要滴下油来。水果摊子更是琳琅满目。肥大的水蜜桃、大个儿西瓜、又黄又圆的 香瓜、白嫩的鲜藕，摆在一起，竞妍斗艳。 The same is true of other stalls. At fish stall, live fish were swimming in the water and big carps weighing more than five kilos each were lying on chopping boards. At poultry stall, caged chickens and ducks were making a lot of noise to greet each other. At meat stalls, chunky pieces of pork, beef and mutton were hung up. There were also special counters selling beef and mutton to Moslems. At some stalls, chicken and duck eggs of a glistening whit were piled up like small hills while rows of bacon and salted duck, seemingly dripping with fat, were hung out on racks. The fruit stalls were even more attractive. Arrayed side by side were juicy honey peaches, plump watermelons, yellow round muskmelons, fresh tender lotus roots, vying with each other to be the most beautiful. 32 天津大学 2013 届外国语言学及应用语言学专业研究生毕业论文 ——The Shanghai Food Market (Zhang Peiji 212:152-155) This paragraph describes what the protagonist see when he is inside the market. The themes of the every sentence in Chinese version are “卖鱼的摊子”, “卖鸡鸭的摊子” “卖肉的摊子” “其他的摊子” and “水果摊子”respectively. The relation between them is loose without any conjunctive word. The whole picture is formed by the combination of every separate picture. But if we take the environment into consideration, it is not hard to find that that is the scene seen by the character by glancing. Food market is a fresh and interesting place for the character who get used to high buildings and large mansions, so the feeling of the character is self-evident. He just wants to heartily enjoy every stall and represent them without too much thought. So the translator doses not introduce the precise position of every staff and describe them as separate picture, too. Therefore, the sentences of the English version starts with “At fish stall” “At poultry stall” “At meat stalls” “At some stalls” “The fruit stalls” and there is not any conjunctive words between them, too. Besides, in order to make the reader have the real experience, the writer prefer short sentence. When talks about the meat stalls, the writher does not use the sentence pattern, “不仅……而且……”, but choose two short sentences, “整片的猪肉、牛肉、和羊肉挂在那里。还为穆斯林设了买牛、羊的专柜”. Then the reader can feel that firstly, the writer find that chunky pieces of pork, beef and mutton were hung up, and then he suddenly find that There were also special counters selling beef and mutton to Moslems, which gives him a big surprise. Thus the readers’ aesthetic feeling is more concrete and active. Zhang noticed the implied meaning behind the simple language and imitate the original work without adding any cohesive device, generating the same defamiliarization effect. In terms of narrative perspective, writers choose his narrative perspective for certain purpose. Narrators may choose other things’ point of view rather than a person’s, in the way, the content described seems unfamiliar. Translators should understand the change of different narrative perspective and keep the deep meaning. Example 7: 在北大工作，内心感情的波动是难以形容的，既兴奋，又寂寞;既愉快，又惆怅。 My first days at Peking University found myself experiencing an indescribable missed 33 天津大学 2013 届外国语言学及应用语言学专业研究生毕业论文 feeling of both elation and loneliness, and both joy and gloom. ——Pecking University Library and I (Zhang Peiji 2012:135-139 In (7), in fact, it is that the protagonist feels something, but translator does not take this kind of pale expression. It is not common to say that day can find something, so this kind of personification adds defamiliarization and deepens reader’s feeling. Besides, “既兴奋，又寂 寞;既愉快，又惆怅” is a parallel structure, which is maintain in the translated text with “both……and……” pattern. What’s more, Shklovsky regards defamiliarization as an artistic device. He thinks that the purpose of art is to impart the sensation of things as they are perceived and not as they are known (Shklovsky 1988). He rejects to write with familiar images and symbols as well as abstract concepts. He proposed that the description of some object as if it is seen for the first time and something as it happens firstly. Writers may do not directly point out what he is describing is, but describe it in the way as if he has never experience it before or does not know what it is happening. This defamiliarization device changes plots to language feelings with new meaning and vitality. Zhang noticed the writers’ consideration and try to maintain this effect. He follows the original writer’s defamiliarization device and does not describe something with no accepted names of its parts but names the corresponding part of other objects. In the way, the familiar act is made unfamiliar without the change of the nature. It is effective to prick the readers’ conscience. Defamiliarization strategy emphasizes the maintenance of defamiliarization device rather than the exact equivalence. So the translator need not make translation exactly similar with the original version but should take the same defamiliarization device and create the aesthetic effect caused by it. The writer does not clearly point out that what is going on and what is its thought but just describe the feeling of the body to guide readers to think. Following the writer’s description, it seems that the readers fell that their body, maybe lips or blood are experiencing a certain reaction which the writer is describing. In the way, the readers’ interest is draw, longing to reader further and to know the real situation. 34 天津大学 2013 届外国语言学及应用语言学专业研究生毕业论文 3.4 Aesthetic Realization of Defamiliarization in Culture Translation is a kind of language shift between two language-communities. Because every language roots in a certain community and culture, translation is not the superficial change but a deep communication by which the source language society spread its language and culture and the target language society enrich its language and culture. 3.4.1 Aesthetic Realization of Defamiliarization in Thought Culture Thought culture is based on the mode of thinking and habitual way of thinking. It shows that different nationalities recognize the world and ponder in different ways (Liu Zhuyan 2013:76). The difference thinking way between the West and the East are manifested in many aspects, especially in the expression of color. Color words are typical cultural words and they are studied by Zhang Peiji in great detail. Color words are used aiming at effectively expressing the content of a work. These words stimulate sensory organs and bring readers realistic impression. Some color words can refer to more than one color, so translators should differentiate them and make the concept of color more dramatic and vivid. The connotation of the color “青” is rich and it can refer to blue (such as in “青空”), green (such as in “青山绿水”), and black (such as in “青丝”) and so on. Translators should deliberate the original sentences carefully and deal with them flexibly. Zhang carefully weigh in his words in translation. Zhang choose “ashen” or “ghastly pale” to convey the meaning of “青”, which is really laudable. The word, “ashen” does not give the concrete color of the face but also give readers a vivid picture of ash which has burned completely. Considering the different cultural habit in making use of color words, “青” is equal with “pale” when it is used to modify the color of a face. Zhang respect the code of target language and let readers deep into the mind of the character from his countenance. 3.4.2 Aesthetic Realization of Defamiliarization in Conventional Culture Conventional culture is derived from daily social life and communicative activities and it is reflected in all walks of life (Liu Zhuyan 2013:77). So some common things in China are 35 天津大学 2013 届外国语言学及应用语言学专业研究生毕业论文 unfamiliar to foreign readers because the difference of culture. Although foreigners are not familiar with those traditional Chinese things, they are attracted by the exotic flavor within. These fresh names can become elements of defamiliarization. Meng Hua thinks the core mechanism of translation is to find the words which correspond to the original text and are understandable and acceptable for readers of target language. (Meng Hua 2001:101) Therefore, translators should take readers’ receptive ability into consideration. Directly introducing exotic things can trigger defamiliarization effect, so the direct introduction of foreign cultural representatives is a defamiliarization device. Though these traditional Chinese tools, such as paper, ink, writing brush and inkstone, have been introduce to foreign countries, they are classical Chinese culture after all. Therefore, they are elements of defamiliarization for foreign readers. The foreign readers will get a shock of defamiliarization at first sight. Therefore, the classic Chinese things though are known by foreigners, are still unfamiliar elements. Sometimes, the subtlety of original is hard to represent in translation, so the translator should take some indemnifying measures to represent the connation and beauty of original version. “锁片” is a common mascot for children in China, but it is rare thing for foreigners. So the translator use a common word, “ornament”, to substitute “lock” and add explanation, “as a lucky charm”, to make it understandable. This kind of explanation can be a part of the text like the example or be showed as notes. Because the concept of “ornament” is abstract, it can bring readers’ imagination and strength the distance of aesthetics. Readers may imagine what is like the ornament. If the imagery of lock is kept and the concrete explanation is added, the defamiliarization feeling can also be kept. Firstly, readers may be surprised why a lock is hung on the chest. Then they know that it is so for good luck. However, given the concrete imagery, the room for imagination is narrowed. Except determined by content of original work primarily, the infectivity of a work is also determined by authors’ language skills. Translators are also writers. What he needs to cope with is not only the comparison between two languages and between defamiliarization devices in two languages but also the creation of the aesthetic value in target language. Example 8: 36 天津大学 2013 届外国语言学及应用语言学专业研究生毕业论文 古圣先贤总是教训我们要能过得俭朴的生活，一个有志的人应能耐得住清寒。 Frugality has always been the teaching of our ancient sages and wise men. A man of strong will should be able to endure spartan living conditions. ——Cultivating Good Habits (Zhang Peiji 2012:62-66 ) Habit devours aesthetic enjoyment, so creativity is indispensable in literature. The creativity is applied in Zhang’s translation. Zhang adds a defamiliarization device by using the word “Spartan”. By thinking how Spartan lives, the condition of privation is not an abstract concept any longer and the historic knowledge about Spartan is introduced. 3.4.3 Aesthetic Realization of Defamiliarization in Religious Culture In China, religious culture is represented by Buddhism which has a long history in this country. It has affected all aspects of social life and constitutes one of the prominent cultural features in China. Many Chinese idioms are derived from Buddhist culture. Lu Xun said (1958) that translation must give target readers an exotic atmosphere, i.e. foreign flavor. If readers read a translation like read a native work, the translation is not successful because of formal damage. The idioms derived from religious culture contain meaningful foreign characteristics which can reflect the culture and tradition of a nation to a large extent. Sometimes, we may find some similar expressions in the target language, but if these idioms and images contained within are used indiscriminately, the exotic atmosphere will be destroyed. It is wise for translators to take literal translation into consideration firstly. Example 9: 认为今天日本人不认罪也就是思想上还没有放下屠刀，东条还在阴魂不散，谁敢担 保在下个世纪他不会借尸还魂～ I think Japan’s refusal to admit its crimes is due to its failure to be mentally prepared to drop the butcher’s knife. So long as the ghost of Tojo lingers on, none can assure you that militarism will never revive in a new guise in the next century. ——If I Were a Japanese (Zhang Peiji 2012: 129-133) Under the premise of understandability, literal translation is a helpful method. These two expressions, “drop the butcher’s knife” and “ghost lingers on”, are typical expression from 37 天津大学 2013 届外国语言学及应用语言学专业研究生毕业论文 Chinese Buddhist culture. Zhang’s translation keeps these cultural images and introduces Chinese culture. But in order to not make the defamiliarization surpass the limitation of understandability. Zhang does not take the same method when dealing with the third idiom. 38 天津大学 2013 届外国语言学及应用语言学专业研究生毕业论文 Conclusion Literature is a kind of art and artistry attributed to a given work results from the way we perceive it. Literary work often can bring readers aesthetic feeling when describing things and guide readers to have a charming experience. In perspective of defamiliarization, this feast of sensory organ is caused by defamiliarization devices. Defamiliarization is put forward by Victor Shklovsky based on psychology. He insists that art aims to make familiar things unfamiliar by artistic devices, attracting readers’ interest. With unfamiliar feeling or curiosity, readers tend to generate great desire to explore the deep meaning within. Defamiliarization is opposite to automatization. With the analysis of the general pattern of perception, he put forward that the process of perception will become habitant without awareness, if it is repeated for a long time. Art exists for calling back our feeling towards life. Defamiliarization is the proper device to increase the difficulty of form and extend the time of aesthetic feeling. Translation is recreation of art. If defamiliarization is transformed into common expression in target language, it means to discard the appreciable aesthetic value of the translation, so translators should convey the aesthetic effect of defamiliarization faithfully and precisely into the translations, making translations have the same artistic effect as the original works. According to Liu Miqing (Liu Miqing 2005:88), translators are aesthetic subject in translation and the aesthetic subject is limited by aesthetic object in translation including the translatability of the formal beauty of the source language and the non-formal beauty of the source language and cultural difference. The meaning is contained in non-formal system as sentiments and ideals which are manifested by images and symbols. Therefore it is wise to think about the realization from three aspects: formal level, non-formal level and cultural level. As the aesthetic study by Li Miqing aims to certain selected texts, so the material selection is not his focus, but from the perspective of defamiliarization, the material selection is also a necessary part to the whole aesthetic realization of defamiliarization. Therefore, this paper analyzes the realization of aesthetic feeling from the following four aspects: material 39 天津大学 2013 届外国语言学及应用语言学专业研究生毕业论文 selection formal level, non-formal level and cultural level. Translators should improve the consciousness of defamiliarization and regard it as an important translation strategy. Firstly, they should try their best to represent the defamiliarizaiton aesthetic information of original work. For this purpose they can maintain the original defamiliarization devices or accommodate original defamiliarization devices into target language circumstances, adjusting the original defamiliarization devices and making them consent with language rules and social tendency of the society of target language. Then the aesthetic effect of target language which is similar to the aesthetic effect of source language can be generated by similar defamiliarization devices. Secondly, they may take defamiliarization as a method of creating translation. Without considering the creation of the defamiliarization device in original text, the translation can not be a successful translation. Therefore, translators should add new defamiliarizaiton devices for the original work or keep the exotic expressions to improve its artistic value. Without considering the creation of the defamiliarization device in original text, the translation can not be a successful translation effect. Zhang Peiji’s Selected Modern Chinese Essays can be regarded as a perfect work in representing defamiliarization and creation of defamiliarization. Zhang Peiji selected classic Chinese essays with typical Chinese subject matter as source text. It is helpful for stimulating aesthetic nerves and making the process of aesthetic perception prolonged by exotic flavor. In terms of formal aesthetic value, the realization is analyzed from four aspects: phonetic level, lexical level and syntactic level. On phonetic level, the rhyme, onomatopoeia and dialect are the focus of Russian formalists and the aesthetic value of them is also paid attention to by Zhang Peiji. On lexical level, the following defamiliarization devices are discussed: special collocation (including zeugma, syllepsis and synaesthesia ), pun, loan word, coinage, repletion. On syntactical level, ellipsis, the change of the order of sentence element, the addition of other sentence elements, idioms, ancient expression and parallelism are analyzed as defamiliarization devices. In terms of non-formal level, the paper discussed how sentiments and ideals are combined with certain images and symbols and what writhing techniques are used when constructing artistic conception in Zhang Peiji’s translation works to combine feeling and visual scenes and to extend the 40 天津大学 2013 届外国语言学及应用语言学专业研究生毕业论文 aesthetic effect by imagination. In terms of culture, the thought culture, conventional culture and religious culture are meaningful for distinguishing the difference between different languages and constructing defamiliarization effect. The treatment of defamiliarization is challenging, it is hard for a translator to make a translation perfect. They should improve their language ability and literary appreciation to give full play to their initiative and creativity. 41 天津大学 2013 届外国语言学及应用语言学专业研究生毕业论文 Bibliography [1] Lefevere, Andre. Translation/History/Culture — A Sourcebook, Shanghai: Shanghai Foreign Education Press, 2001. [2] Baker, Mona. Routledge Encyclopedia of Translation Studies. London and NewYork: Routledge, 1998. [3] Bassnett, Susan. Translation Studiesrd ed. London: Routledge, 2002. . 3 [4] Basnett, Susan, and Lefevere, Andre. Constructing Cultures: Essays on Literary Translatin. Clevedon, Philadelphia, Toronto, Sydney and Johannesburg: Multilingual Matters Ltd., 1998. 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