4.2.3 Aesthetic representation of image-G
4.2.3.1 The aesthetic interaction between image-G schema and cognitive processing
Image-G in classic Chinese poetry actually possesses certain aesthetic schema,which is not just from aesthetic qualities in imagery structure,nor solely from a similar schema(both cognitive and aesthetic)underlying translators'conceptual faculty,but rather from recurring patterns of homogeneous integration between them(Lefevere,2004).Only when translators and authors'encyclopedic view and schematic representation are organically combined in image-G schema can aesthetic presentation of image-G be actualized in a successful way.When translators'aesthetic schema of image-G is similar to that of authors,they are in agreement with the aesthetic code and perceptual pattern of the author.Accordingly,when they do not have common aesthetic schema of image-G,the tacit comprehension won't be achieved.ST is the literary production of authors'mental actualization and the linguistic representation of his own aesthetic schema of image-G.Besides,translators'cognitive processing of image-G is stimulated by English and Chinese languages underlying two different schematic ideological backgrounds.In either of the cases,the aesthetic interaction between aesthetic schema of image-G and cognitive processing in general aesthetic schema of image-G is to build on translators'holistic construction of image-G representation from ST schemata to TT schemata.ST schemata and TT schemata are not mutually exclusive ways of constructing image-G in conceptual association.Rather they are conceptual complex from which translators can select according to their needs in specific contextual situations.
4.2.3.2 Translators'conceptual faculty conductive to cognitive processing(https://www.daowen.com)
Considering the interaction between textual environment and cognitive processing,it is not surprising that there is conceptual faculty rooted in contextdependent online conceptualization.Moreover,a vital part of translators'aesthetic psychological system is in accord with such cognitive function(Gullace,2006).Clearly,then,translators can neither avoid the influence of on-going language processing nor their abstract thinking without it.However,translators'conceptual faculty does not only apply to the way in which linguistic items are experienced.In fact,translators'conceptual faculty can be seen as a condition for any non-analytical processing of aesthetic input.This is not just a matter of conceptualizing the aesthetic representation of image-G,which is experienced as conceptual mental schema.The denial of the significance of conceptual faculty is tantamount to a denial of meaningful aesthetic experience,for without it translators'aesthetic representation of image-G would just be inter-lingual transformation of semantic meaning.
Association thinking,which is the core conceptual faculty in translators'aesthetic representation of image-G,normally involves several vital relations.The cognitive processing is also constrained and optimized by a set of governing principles,among them the topology,the integration and the unpacking principles(Springer & Murphy,2003).Association thinking is a conceptual faculty,which is the aesthetic faculty of bringing together of aesthetic qualities of image-G that are not correspondingly associated and correlated in SL and TL.Varied artistic qualities are profoundly embedded in the aesthetic schemata of these two languages.On top of that,association thinking is quite crucial to translators'psychological workings in their aesthetic representation of image-G.In addition,it can facilitate translators in interacting with authors'aesthetic schema of image-G and constructing its metaphorical projections of cohesive aesthetic qualities.