Translation is to rewrite in language B, hoping that the target readers will perceive the text, emotionally, and artistically, in a manner that parallels and corresponds to the esthetic experience of its first readers. (Edith Grossman, 2010) However, the paradox of translatability and untranslatability has existed since the first translated works appeared. Translatability is not something inherent in the text; it is an “elective affinity”, which suggest the resonance, or a meeting of the minds, between the translator and the text at the intellectual, aesthetic, and personal levels. (Michelle, 2011) As a novice in translation, I have to admit that I was in a great dilemma when translating this literature work. To translators, the core principle
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Attention must be paid to register, rhythm, sonority, style, tone, etc., all while respecting the author 's intentions and maintaining the original message.” (Carrie C. Landfried, 2013) I’ve been experiencing delicacy since the very beginning of this translation task. The title of the source text is a line from the poem written by Caocao, a great historical figure of China. It was originally intended to express his ambition of seeking for talent, and was later borrowed to deliver a more extensive emotion regarding love and affection. Suppose I take the equivalence at word level and the grammatical equivalence in the first place, ‘But for your sake, I mutter till now’ would be the title of the translation version. Sure it can be, because there is no right or wrong in the field of translation. However, aesthetic of the article would be spoiled at the very beginning of translation. A most remarkable feature of Classical Chinese poetry is antithesis. I tried to preserve this feature while translating. Moreover, rhyme was also taken into consideration. Then a perfect translation, at least among the ones I’ve conceived in the process of rumination, of the title, has been bred, as “You are the cause, of this song without …show more content…
Domestication refers to the target-culture oriented translation in which unusual expressions to the target culture are exploited and turned into some familiar ones so as to make the translated text intelligible and easy for the target readers, which counterpart is foreignization. In my point of view, the genre of prose is an art on the use of lexicon, syntax and rhetoric, rather than content. The original flavor cannot be conveyed in another language. In comparison with other genre such as commentary, expository writing and argumentative writing, prose put more emphasis on the art of language. The main content of this article is simply a monologue of love, which can be finished by merely one sentence. However, a long article has been presented in front of us without producing any visual fatigue, and even evokes a sense of nostalgia. You might be reminded of someone you used to love, old memories might awake. All these emotion derives on the premise of fluent reading. That is what domestication demands. So is in the translation version. The target audience could only be involved in the feeling the author has built when reading in fluency is allowed, or the audience would only struggle to get to the bottom of each
Attention must be paid to register, rhythm, sonority, style, tone, etc., all while respecting the author 's intentions and maintaining the original message.” (Carrie C. Landfried, 2013) I’ve been experiencing delicacy since the very beginning of this translation task. The title of the source text is a line from the poem written by Caocao, a great historical figure of China. It was originally intended to express his ambition of seeking for talent, and was later borrowed to deliver a more extensive emotion regarding love and affection. Suppose I take the equivalence at word level and the grammatical equivalence in the first place, ‘But for your sake, I mutter till now’ would be the title of the translation version. Sure it can be, because there is no right or wrong in the field of translation. However, aesthetic of the article would be spoiled at the very beginning of translation. A most remarkable feature of Classical Chinese poetry is antithesis. I tried to preserve this feature while translating. Moreover, rhyme was also taken into consideration. Then a perfect translation, at least among the ones I’ve conceived in the process of rumination, of the title, has been bred, as “You are the cause, of this song without …show more content…
Domestication refers to the target-culture oriented translation in which unusual expressions to the target culture are exploited and turned into some familiar ones so as to make the translated text intelligible and easy for the target readers, which counterpart is foreignization. In my point of view, the genre of prose is an art on the use of lexicon, syntax and rhetoric, rather than content. The original flavor cannot be conveyed in another language. In comparison with other genre such as commentary, expository writing and argumentative writing, prose put more emphasis on the art of language. The main content of this article is simply a monologue of love, which can be finished by merely one sentence. However, a long article has been presented in front of us without producing any visual fatigue, and even evokes a sense of nostalgia. You might be reminded of someone you used to love, old memories might awake. All these emotion derives on the premise of fluent reading. That is what domestication demands. So is in the translation version. The target audience could only be involved in the feeling the author has built when reading in fluency is allowed, or the audience would only struggle to get to the bottom of each