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±¹¹®Á¦¸ñ (Un)translatability and Aesthetic Equivalence
¿µ¹®Á¦¸ñ (Un)translatability and Aesthetic Equivalence
ÀúÀÚ Kun-liang Chuang
Ãâó 25.2 (December 2019): 175-197
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³í¹®ÀÚ·á [÷ºÎÆÄÀÏ ´Ù¿î¹Þ±â] 459 Kun-liang Chuang.pdf

This paper aims to present how the idea of untranslatability is played upon in
my translating A Portrait of the Artist as a Young Man into Chinese. Following
Lawrence Venuti¡¯s translation principles, I try to walk between the two poles of
¡°domestication¡± and ¡°foreignization,
¡± and manage to bridge the lexical gaps
between Joyce¡¯s original expressions and their possible Chinese counterparts. I also
refer to Walter Benjamin¡¯s article of ¡°The Task of the Translator,
¡± which assumes
some ¡°sacred¡± meaning in the source language is in fact untranslatable, and Jacques
Derrida¡¯s deconstructive concept of différance, which highlights the need and
impossibility of translation at the same time. With these theoretical supports, I will
address the issues of (un)translatability and aesthetic equivalence in my translating
A Portrait of the Artist as a Young Man into Chinese.
The issue of (un)translatability is conspicuous in this semi-autobiographical
novel. Joyce¡¯s literary innovation and linguistic experiments have posed great
challenges to the translator. For the scope of this paper, I focus my discussions on
the following three points: (1) The necessary evil of annotation, (2) Language
games across cultures, and (3) Domestication or foreignization. Examples will be
offered to discuss how I manage to create some sort of ¡°aesthetic equivalence¡± in
my Chinese translation. Going beyond the simple dichotomy between betrayal and
faithfulness, I emphasize the necessity of cross-cultural creativity in translating A
Portrait of the Artist as a Young Man into Chinese. 

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´ÙÀ½±Û In Search of Naked Things Through a Hungry Nose: Virginia Woolf¡¯s ¡°The Duchess and the Jeweller¡±