AcknowledgmentThanksforgivingmethischancetoachievethispaperandtomaketheconclusionformyfouryears’education.AndthisisalsoanopportunityformetogainmoreknowledgethanIexpected.Mysincerethanksareduetomysupervisor,Mrs.ZhanJianhuaforhelpingmetoclarifymythoughtandsharpenmythinking.Here,Ialsowanttogivemythankstootherteachersandmyclassmateswhogavememuchhelp.Thankyou!AbstractThispaperintendstoprobeintotranslationaestheticwhichisusedduringthetaskoftranslation,especiallyinliteratureworks.Possessingmuchelasticityandleewaythanothertexts,literarytranslation,ononehanddemandsmoreprecisionofthesourcetextsinsteadoftranslatingwordsbywordsmerely.Ontheotherhand,theauthenticityoftheoriginalsisworththewhistleaswell.Translationaestheticsisaproductofaestheticandtranslation,althoughitisarelativelynewtheorythroughoutthedevelopmentofChinesetranslationtheories.AnditisnotdifficulttofindthattraditionaltranslationChinesetheorycontainsluxuriantideasofaestheticsincetimeimmemorial.Intheviewofthis,thisarticleismainlybasedonLiuMiqing'stheoryoftranslationaestheticsasatheoreticalframework,andwilltakeontheconceptionofTranslationAestheticsbyanalyzingsomeexampleselectedintheSelectedModernChineseEssayswrittenbyZhangPeiji,whichwillallowreaderstocomprehendtranslationaestheticmorestraightforward.KeyWords:translationaesthetics;ZhangPeiji;aestheticsubjects;translationobjects;representationofbeauty摘要文学翻译较之其他文本翻译，具有更多的灵活性，开放性，要对原文之“意”准确再现，不仅停留在“文意”的传达，同时还要求又不失原著本身的“意境”，对译员来说是一个不小的挑战。本文引入既有翻译美学的概念，从读者审美的角度向译员提供一个具有参考价值的评判标准，望能对译员，特别是对尚在学习的同学有所启发，从而有据可依，审视反观自己的译作，不断凝练，呈现好的作品。翻译美学给文学翻译提供了新的视角，即在翻译过程中既充分考虑到读者的语言文化背景和审美情趣，又启动自身的能动性和创造力，使文学翻译成为得心应手的创造性活动。理论建立在实际操作之上，《张培基散文选》作为不可多得的优秀译作，不乏经典可作为研究案例剖析借鉴。我们赏优作，品佳文，借助“翻译美学”这一切入点，理解译文的遣词造句能做到心中有数，心中有文。关键词：翻译美学；张培基；翻译主体；翻译客体；审美再现ContentTOC\o"1-3"\h\z\uHYPERLINK\l"_Toc480834468"1.Introduction1HYPERLINK\l"_Toc480834469"2.TranslationAesthetics2HYPERLINK\l"_Toc480834470"2.1TheOriginofChineseTranslationAesthetics2HYPERLINK\l"_Toc480834471"2.1.1PrimitiveCultureoftheChineseCentralPlains2HYPERLINK\l"_Toc480834472"2.1.2TheCultureofXiaDynasty,ShangDynasty,andZhouDynasty3HYPERLINK\l"_Toc480834473"2.1.3FromQinDynastytoTangDynasty3HYPERLINK\l"_Toc480834474"2.1.4FromtheMid-19thCenturytillNow3HYPERLINK\l"_Toc480834475"2.2TheDefinitionofTranslationAesthetics3HYPERLINK\l"_Toc480834476"2.3StudyofTranslationAestheticsinChina4HYPERLINK\l"_Toc480834477"2.4StudyofTranslationAestheticsintheWest6HYPERLINK\l"_Toc480834478"3.TwoBasicElements7HYPERLINK\l"_Toc480834479"3.1AestheticSubject7HYPERLINK\l"_Toc480834480"3.1.1ABriefIntroductionofAestheticSubjects7HYPERLINK\l"_Toc480834481"3.1.2TheFeaturesofAestheticSubjects9HYPERLINK\l"_Toc480834482"3.2AestheticObject10HYPERLINK\l"_Toc480834483"3.2.1BriefIntroduction10HYPERLINK\l"_Toc480834484"3.2.2FeaturesofAestheticObject10HYPERLINK\l"_Toc480834485"3.2.3RelationshipBetweenASandAO11HYPERLINK\l"_Toc480834486"4.TheStudyofZhangPeiji11HYPERLINK\l"_Toc480834487"4.1ZhangPejiATranslator12HYPERLINK\l"_Toc4...
