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fuzzy linguistics, at the end of the 1980s, fuzzy aesthetics was set up, marked by the publication of Fuzzy Aesthetics written by Wang Minju. The concept of fuzzy aesthetics is adopted and becomes the main object of fuzzy aesthetics research with uncertainty as its main characteristic
The unique artistic nature of verse translation determines that the fuzzy aesthetics is an important measure of evaluation both in theory and in translation practice. The classical Chinese poetry lays stress on artistic conception and embodies the abundant feature of fuzzy aesthetics. Nowadays, many translators have realized the specific feature of fuzzy aesthetics in classical Chinese poetry. How to deal with the sound effect? How to make foreigners clearly impressed by fuzzy aesthetics of classical Chinese poetry in English version? All of these questions are arousing some translators' interests in the research of classical Chinese poetry translation from the perspective of fuzzy aesthetics.

The achievements in this research field indicate that it is possible to make further research on English translation of classical Chinese poetry from the perspective of fuzzy aesthetics. Systematic work needs to be done even though it is considerably difficult to transfer fuzzy aesthetics in English translation of Chinese poetry due to different language rules and cultural background.

1.3 Subject of the Study: Fuzzy Aesthetics in Translating Classical Chinese Poetry
As it is mentioned above, fuzziness is the fundamental feature of literary works. Fuzziness is also inherent in poetry, especially in classical Chinese poetry. Fuzzy aesthetics finds demonstration in form and content of classical Chinese poetry. The ultimate goal of classical Chinese poetry translation is to transfer this kind of fuzzy aesthetics and make the target language readers experience the aesthetics. Therefore, the author will take fuzzy aesthetics in classical Chinese poetry as the subject of research.
 
 II. Fuzzy Aesthetics and Its Manifestations in Classical Chinese Poetry
2.1 Fuzzy Aesthetics
2.1.1 Fuzzy Psychological Mechanism of Aesthetics Subjects
In literary creation and literary translation, thinking in terms of images plays an important role and is characterized by fuzziness. Therefore appreciation of aesthetics of fuzziness conveyed by literary works and translate literary works inevitably involves the thinking in terms of images.
According to Zong Baihua, aesthetics is a property of an object to be perceived. (宗白华, 1981)That is to say, aesthetics is the result interaction between aesthetics subjects and aesthetics objects. This is now consensus in the aesthetics circle.
A large number of researches have proved that the main psychological mechanism of aesthetics experience embraces perception, emotion, imagination and understanding. With their complicated interaction, an extraordinary experience, which is now called fuzzy aesthetics, will occur because these psychological phenomena have the quality of uncertainty by nature.
The first step of aesthetics experience is perception. Different people will find different aesthetics constituents from the same object because of their respective aesthetics perceptions. Hence, aesthetics perception is granted a property of fuzziness. Emotion is the spontaneous overflow of human本论文由英语论文网提供整理，提供论文代写，英语论文代写，代写论文，代写英语论文，代写留学生论文，代写英文论文，留学生论文代写相关核心关键词搜索。