更新时间：11-14 （白鲸）提供原创文章
Abstract: Bi Feiyu makes good use of rhetoric devices in his works, with Qingyi as one of his masterpieces and a favorable reception for its English version. On the basis of translation aesthetics and rhetoric, this thesis introduces such three concepts as aesthetic subject, aesthetic object and aesthetic activity, and discusses the differences between Chinese and English translation aesthetics in terms of historical development and theoretical origin. With a case study of Qingyi, the thesis analyzes such aesthetic features as beauty of rhythm, image and fuzzy expressions. With the help of a small English-Chinese bilingual parallel corpus concerning simile, metaphor, personification, parallelism, allusion, rhyme and irony, the thesis summarizes various methods flexibly adopted for the translation of rhetorical devices, keeping a balance between the beauty of form and content. Generally, literal translation and amplification are applicable to reproduce expected effects of rhetorical devices. Free translation and conversion are sometimes needed for rewriting of rhetorical devices. In addition, certain rhetorical devices would be deleted due to objective cultural and linguistic differences.
Key words: Translation aesthetics; Rhetorical devices; Translation strategies
CONTENTS
Abstract
摘要：
1. Introduction-1
2. Theoretical Framework-1
2.1 Definition of Translation Aesthetics
2.2 Basic Concepts of Translation Aesthetics
2.3 Differences Between Chinese and English Translation Aesthetics
3. Translation of Rhetorical Devices in Qing Yi-4
3.1 Aesthetic Features of Rhetorical Devices
3.2 Relationships Between Translation Aesthetics and Rhetorical Devices
3.3 Strategies of Translating Rhetorical Devices
3.3.1 Reproduction of Rhetorical Effects
3.3.1.1 Simile
3.3.1.2 Metaphor
3.3.1.3 Personification
3.3.1.4 Parallelism
3.3.1.5 Allusion
3.3.1.6 Irony
3.3.2 Rewriting of Rhetorical Devices
3.3.2.1 Metaphor
3.3.2.2 Parallelism
3.3.2.3 Rhyme
3.3.2.4 Irony
3.3.3 Deletion of Rhetorical Devices
4. Conclusion-15
Bibliography.17
Acknowledgments19