从消费者审美心理浅析英美化妆品广告词的汉译策略(2)
3.3 Writing Scheme 5
4 Specific Analysis 5
4.1 Cosmetics Advertisements Based on Technical Terms 5
4.2 Cosmetics Advertisements with Straightforward Language Style 7
4.3 Cosmetics Advertisements Using Flowery Language 9
5 Results and Discussion 10
5.1 Results 10
5.2 Things Still Need Further Study 11
Conclusion 12
Acknowledgments 13
References 14
Introduction
1.1 Research Background
Commodity circulation and cultural exchanges between countries are getting increasingly frequent, placing scintillating advertisements into the television network among Chinese people. Under the situation where English is the most extensive international language over the world, how to translate advertisement has increasingly become the focus of attention in translation industry. Chinese language and Chinese character contain a large wealth of culture, so into the process of English language’s trying to spread its own culture and to integrate into Chinese local culture, the translation strategies from English to Chinese play a very important role. And from the market factors considered in the process of translation, the consumer aesthetic psychology is a very important content in the process of advertisement translation which can not be ignored as a cater face of advertisement. English cosmetics Translation is not just a translation at the view of aesthetic point, it also regards commercial factor as premise and makes profit as purposes. Since the profit target is the consumer, to cater to their consumer aesthetic becomes the most important and basic premise to achieve the profitable result.
2 Literature Review
2.1 Research Objects
This paper endeavors to analyze translating strategies under consumer aesthetic psychology, so it will certainly enumerate the strategies of translating and the aesthetic psychology of consumers.
2.1.1 Strategies of Translating
Jef Verschueren proposed linguistic adaptation theory in his book Understanding Pragmatics (1999). He mentioned in this book that the use of language is “a constantly recurring, intentionally or unintentionally, by prophecy process and external factors within the language or languages around” (Verschueren, 1999, P.55). The theoretical source and perspective are showed in the theory of pragmatics which is defined as “to contact the use of linguistic phenomenon in different forms of activities, and to make a comprehensive contemplation from cognitive, social and cultural phenomenon” (Verschueren, 1999, P.36) .
Understanding Pragmatics has totally three parts. The first part shows that pragmatics is a basic way to study language, and it involves the social, cultural, and cognitive activity which are full of complexity. The second part details four blocks of linguistic adaptation theory, giving examples to make a further explain for part one. The third part shows the specific methods we can take in practice when the mentioned examples above of linguistic activity. It also expounds the relationship between today’s translating trends and the old-style ones.
The aim of linguistic adaptation theory is to summarize the present linguistic translating strategies from the historical background. As Mr He Ziran wrote, adaptation theory “has a strong power of explanatory” (He & Yu, 1999, P.81) and “can get all traditional pragmatic researches together” (He & Yu, 1999, P.83). This theory makes a lot of contribution to practical translation, which shows the ontological significance.
2.1.2 Aesthetic Psychology of Consumers
There is a very close relationship between consumer aesthetic psychology and translation. Aesthetic Psychology is a comprehensive cultural awareness which related to various aspects, like politics, religion, folklore and many other things. It is a cultural symbol, containing a rich cultural heritage. Its aesthetic value is reflected in its varied imagery and figurative. The interdependence between consumers which is the aesthetic subject and commodity which is the aesthetic object constitutes a paradox of the aesthetic relationship. As the conclusion says, “aesthetic mental activity of consume usually includes association, empathy and distance those three basic psychological patterns” (Li, 2007, P.4). Association is a psychological mechanism, a mental process that reminds people from one thing to another. It results from the presence of the common link between objective things. When people are perceiving one thing, life experiences often touch another thing, forming mental associations. Empathy is kind of similar with association, but actually they have quite a lot differences. Association is a perception from here to there, while empathy is an active projection. Aesthetic subject project their own personality and emotion to an object, thereby strengthening the aesthetic effect. Aesthetic distance means that a certain distance must be maintained between the aesthetic subject and aesthetic object, which is a necessary condition for the aesthetic experience. It needs a certain distance with consumers’ naming convention, because only in this way can such translation get a unique, alternative standard of beauty.
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