2.2 In-Translation Process
After the formal start of translation, it mainly went through the following two stages: In the first stage, based on the characteristics of the text and translation needs, the author discussed with the supervisor the compatibility of different translation theories with the text of the translation practice report, and finally decided to take “Aesthetics of Reception” as the guiding theory of the translation practice. According to the value purport of Aesthetics of Reception, the original text was initially translated from beginning to end, and the parts that need repeated scrutiny and serious analysis were specially marked.
In the second stage, the translator focused on the part that is difficult to understand and translate, and discussed the difficulties with her partner and supervisor. Then under the guidance of Aesthetics of Reception, the translator smoothly finished the second draft. Here is an example. In the source text, what the author is trying to describe is a group of police officers coming to Darby’s house and making Darby’s whole family all wait outside the door so that the police can conduct a search. Although Darby is very reluctant, she cannot disobey the police, so the author writes: “It’s not as if she expects her to say, oh, sure, fine, we’ll wait, but it’s like Darby needs to push on the bruise, needs to confirm: Yes, they are kicking you out of your home.” At the first time the author translated this part as “在伤口上又按了一下”. It is obvious that although the translation correctly expresses the original meaning, it does not conform to the Chinese language habits. This kind of translation also makes the translated novel lose its charm. After the author’s repeated thinking and discussion with her partner, the translation is developed to “但达比还想往伤口上撒盐,好让自己死心”, which not only conveys the deep meaning of the source text more accurately, but also confirms to Chinese language habits.
Chapter Three Guiding Theory ................ 9
3.1 An Overview of Aesthetics of Reception ...................... 9
3.1.1 Reader-centered principle and Horizon of Expectation ............... 9
3.1.2 Aesthetic Distance and Text Blank ..................... 10
Chapter Four Case Analysis .......................... 13
4.1 Strategies for Realizing Reader-centered Principle ......................... 13
4.1.1 Adoption of Reduplicated Words ....................... 13
4.1.2 Adoption of Four-character Phrases ..................... 15
Chapter Five Conclusion .................... 34
Chapter Four Case Analysis
4.1 Strategies for Realizing Reader-centered Principle
Zheng Hailing once mentioned that “literary translation is an artistic translation, which is the translator’s aesthetic grasp of the ideological content and artistic style of the original work, and the compl