Aesthetics in English-Chinese Brand Names Translation of Cosmetics文献综述

 2022-09-08 12:04:54

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杭州师范大学外国语学院

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On the Translation of Cosmetics Trademarks from the Perspective of Aesthetics

Abstract: With the rapid growth of global economic and trade exchanges, import and export of commodities are becoming more and more frequent, and many kinds of products are distributed to different countries. Meanwhile, trademarks, which attract customers to buy, need to be translated into different kinds of languages. As English is most used as a universal language, and the Chinese total volume of import and export is large, the demand for the translation of trademarks between the two languages is ever increasing. The research object of this thesis is the translation of trademarks between Chinese and English. Trademarks have been analyzed and researched from a variety of angles. Some researches are under the guide of Skopostheorie, some are from the perspective of contrastive discourse analysis of interpersonal function, and some are based on the text features and style of directions or reception of readers, and so on. This thesis will study the translation of trademarks from the perspective of aesthetics. That is a comparatively new perspective as far as the translation of trademarks is concerned, and relative researches are still in the initial stage, since trademarks have long been just regarded as direct explanations without aesthetical feelings. As a kind of pragmatic text, the basic function of trademarks is certainly to introduce products or the use of products to customers. However, trademarks are endowed with the new role of sales promotion in the background of the commodity economy, and to play this role, they must attract customersrsquo; attention by providing aesthetical enjoyment. Therefore, aesthetic study on translation of trademarks is imperative and necessary. This thesis includes five chapters: Chapter One is the introduction; Chapter Two is a literature review, to review the theory applied in this thesis—translation aesthetics; Chapter Three introduces the existing problems in translation of cosmetic trademarks; Chapter Four is translation strategies of cosmetic trademarks in the field of aesthetic, to apply aesthetics to the translation of trademarks and try to put forward some translation methods; Chapter Five is the conclusion.

Key Words: trademarks, translation aesthetics, basic hierarchy, expressiveness, acceptability.

  1. Literature Review
    1. Studies on the translation of aesthetics

Everyone loves beauty as the love of beauty is a nature of all human beings, and all languages involve beauty, which is also a nature of languages. Einstein has once claimed that beauty is more important than reality, because it is full of creativity and imagination. An Encyclopedia of the Chinese Language (1999) defines aesthetics as: Aesthetics studies human esthetic relation and consciousness with the reality and is the science of the original, development and rules of beauty. Translation in China traces back to the translation of Buddhist Sutra. Early Buddhist translators, such as Zhi Qian, Monk Dao An Kumarajiva, Hsuan Tsang, introduced Buddhist sacred writings and scriptures as well as translation theories into ancient China. And most of those translation theories were studie from the perspective of philosophy and aesthetics. Naturally, the main body of Chinese traditional translation theories is nothing more than aesthetic exploration and description of the translated versions. The influence of aesthetics upon the western translation theories is slightly less than that of China. However, aesthetics had been wedded to western translation earlier than modern linguistics in terms of diachronic.

1.2 Translation Aesthetics

1.2.1 Translation Aesthetics in the West

Alexander Gottlieb Baumgarten (1714-1762) is the person who gave birth to aesthetics. In his masterpiece Aesthetica published in 1750, he put forward the first definite claim for the founding of a new discipline–Aesthetica, which is known as aesthetics. In the view of Baumgarten, aesthetics was originally a discipline for the study of human perception or feeling, which included human sense, affection, aspiration, imagination, fantasy and intuition. And at that time, there was a popular belief that the feeling activities were tied up with aesthetics and art. The new discipline which differed from the logic aimed at knowledge study and the ethics aimed at will study, already existing in the West then, is meant to specialize in human perception and set up an independent field. The publication of Aesthetica marked aesthetics as an independent academic discipline in the west, and its author is thereby acknowledged to be the founder or father of aesthetics. Aesthetics historians Gilbert and Kuhn made the comments: “it is one of the most important events in the history of human thoughts to regard aesthetics as one autonomous discipline. The main contribution of Baumgartenrsquo;s work resides in the fact that it confirms aesthetics, once regarded as ordinary, should enjoy a high status.”(毛荣贵，2005)

1.2.2 Translation Aesthetics in China

J. L. Fortey had one word that German discovered aesthetics, and Chinese created it. That is true. And the theoretical basis of Chinese traditional translation is no other than aesthetics. Aesthetics plays an important role in the development of translation theory and in China in particular. It is one of the distinguishing features of Chinese translation theories to combine aesthetics and translation and the function of the Chinese language is closely tied to aesthetic judgment. That is different from the West.

Chinese is a very perceptible and perceptive language, and perception is related with experience and gathering of experience. So Chinese native speakers are inclined to associate sound and meaning during their communication. Besides, Chinese strives for harmony and symmetry and thus its syntagmatic structure is always a long line followed by a shorter one. Moreover, modern Chinese tend to avoid verbose subject and long attribute, because both of them spoil balanced and harmonious structure. It is safe to say that aesthetic conception and consideration have penetrated deeply into the whole Chinese system. Aesthetics gives an impetus to the development of western translation theories to a certain extent, and it has a close and permanent relation with Chinese ones.

1.3 Conclusion

Aesthetic subjects refers to the people who research and act on aesthetic objects in aesthetic activities. There are two kinds of aesthetic objects in translation, namely the source language and the target language. Correspondingly, aesthetic subjects in translation are divided into translators as the aesthetic subjects of both the source texts and the versions, and readers as the aesthetic subjects of the versions. And translators take a leading part in translation aesthetics.

Generally speaking, aesthetic activities of aesthetic subjects begin with mental state formed by aesthetic inclination (including interest, intent, preference, will, thoughts and so on) in aesthetic conscious system. And here the activities pull double duties: one is cognition and appreciation of beauty and the other is representation and recreation of beauty. In the case of translation, aesthetic subjects need to understand and appreciate the source language and to represent and recreate the aesthetic information implied in the source texts. Of course it is inevitable that there are a lot of constraints on aesthetic creation in translation. On the other side, aesthetic objects and subjects are two inseparable concepts or categories, between which there is a dialectical relationship of interdependence. Translation aesthetics is alike. After all, sense of beauty embodies the dialectical unity of subjects and objects. It is absolutely impossible for the beauty of aesthetic objects in translation to be represented without exertion of aesthetic functions by aesthetic subjects in translation.

2.Reference

[1] Weaver , W. 1989, “ The Process of Translation” in J. Biguenet and R. Sehulte( eds. ) 1989, The Craft of Translation: 117-24.

[2] Bell. R. T. 1991, Translation and Translating: Theory and Practice , Longman Group U K Limited.

[3] Chan A K K and Huang Y Y． Chinese Brand Naming Principles: The Case of Drinks ［C ］， working paper， Business Research Center，School of Business，Hong Kong Baptist University，Hong Kong，1999．[4] Fremandaamp;Chitra. Idioms and Idiomaticity[M]. 上海:上海外语教育出版社,2001.

[4] Chan A K K and Huang Y Y． “Chinese Brand Naming: A Linguistic Analysis of the Brands of Ten Product Categories”［J］． Journal of Product ＆ Brand Management，2001 ( 2) : 103－119．

[5] Li Jie. The Review and Contemplation on the Development of Contemporary Chinese Translation Aesthetics, Journal of Renmin University of China, 2007

[6] 胡开宝,陈在权. 商品名称的美学特征与英语商品名称的翻译，中国翻译. 2000(05)

[7] 毛荣贵. 翻译与美学. 上海科技翻译. 2003(03)

[8] 曾艳. 从翻译美学角度看商标翻译，太原城市职业技术学院学报，2010年第4期

[9] 胡开宝，LNNN，英汉商标品牌名称对比研究， 《上海交通大学学报》（社科版），LNNN 年第O 期。

[10] 吴修等，LNNO， 《实用美学》，天津：天津科学技术出版社。

[11] 蒋孔阳，LNRS， 《美学与艺术评论》，上海：复旦大学出版社。

[12] 傅中选，LNNO， 《实用翻译美学》， 上海： 上海外教育出版社。

[13] 杨承淑． 翻译中的文化语境: 剖析及对应［J］． 中国翻译，2008 ( 2) : 51－56．

[14] 刘宓庆，章艳． 翻译美学理论［M］． 北京:外语教学与研究出版社，2011: 118－119．

[15] 周素文. 从翻译美学角度谈汉语商标词的英译[J]. 上海科技翻译, 2003.

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杭州师范大学外国语学院

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