The thesis aims to propose a framework for poetry translation and its criticism. It is demonstrated how criticism on poetry translation can discuss the source text and target text in a way that they may well be two pieces of prose and miss a very important point: their aesthetic value as poetry. The thesis goes on to investigate an important issue of poetry translation: what makes Ã?Â·poetry poetry. For if poetry is to be translated into poetry and criticized as poetry, this will be a highly relevant issue. An investigation into both Chinese and Western traditions shows that the common ground shared is that poetry in a poem is something holistic and coming from those aesthetically effective contextual relations from the poem. Gestalt Theory is introduced as the backbone of the framework to embody how those contextual relations function and a new term for the poetry one reads in a poem is coined, poestalt-combining poem and gestalt. The framework then is applied to investigate three issues and its significance to the criticism of poetry translation: Firstly, how poestalt may emerge mid the condition for this to happen, i.e. aesthetic coherence. Secondly, the significance of the creative involvement of the reader/translators, which is an important element of poetry reading/translation. Thirdly, the nature of the contextual relation and poestalt, which is highly related to the former two.issues. With this framework, the thesis shows that the poestalt emerging from the source text is the relevant object of poetry translation and its comparison with the poestalt emerging from the target text is the object for the criticism of poetry translation
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