摘  要

文学作品本身是语言的一种艺术形式，反映民族独特的文化意识，具有审美价值。因此要实现文化间有效的文学交流，文学翻译不只是忠实反映原作者的文学意向，还要再现原作品蕴含的审美元素。本文基于翻译美学理论，采用演绎和对比分析法，以张培基先生的《想北平》英译本为例，旨在研究和分析张翻译该散文过程中的审美再现机制，表现翻译美学在翻译活动中的实际应用，从中可归纳出不同审美元素再现的表现特点及局限性，为今后汉语散文翻译实践提供一定的导向作用。同译者体验和探究其审美再现过程，认识到审美元素的可译性和不可译性，亦对文学赏析和批评研究领域有借鉴作用。

关键词：文学翻译；翻译美学；张培基；审美再现；审美元素
 
Abstract

Literature work itself is an artistic form of language with aesthetic values, which reflects a nation’s unique cultural ideology. Therefore, in order to achieve effective literary exchanges among cultures, literary translation requires not only faithfulness to the author’s intention, but also aesthetic reoccurrence of ST. On the basis of translation aesthetics, the paper utilizes the methodology of deductive and comparative analysis on the translation of Fond Memories of Peiping by Zhang Peiji as the example, aiming to discuss Zhang’s aesthetic representing operation in translating and present practical application of translation aesthetics in translating activities, where the different ways of reoccurrence and the restrictions can be concluded for certain direction to Chinese-English translation in future. The studies and experience in the process of aesthetic representation which reveal the success and failure of representing aesthetic elements are also enlightening in the field of literary appreciation and criticism.

Key words: literary translation; translation aesthetics; Zhang Peiji; aesthetic elements

1 Introduction
    Translating studies on literary work such as poems, dramas, novels, and essays have been also playing an important role in cultural communications and presentations which not only reflect artistry of the original literature, but mirror the ideological background of a people itself. Considered as the creative art of language, literature work is crucially valued by its aesthetic beauty to give readers sensuous perception in mentality. Therefore, there is no reason not to treat aesthetic reoccurrence as the focus in literary translation, which, however, is not easily materialized and may be limited in some factors.
    Thus, given the field of literary representation remaining to be explored, the paper aims to demonstrate for the reader actual operation of aesthetic representation and its restriction by analyzing his translation of Fond Memories of Peiping, conducive to improving the application of translation aesthetics, the theoretical foundation of aesthetic reoccurrence, and facilitating better literary translations.