EXPLORATION OF BUSINESS ENGLISH TRANSLATION PEDAGOGY FROM THE PERSPECTIVE OF TRANSLATIONAL AESTHETICS

Each language possesses its unique structural rules. In translation practice, semantics, logic, and aesthetics are interdependent. The key to achieving readability in translated texts lies in conforming to the expression patterns of the target language, ensuring the translated text's superiority. English syntax operates on an asymmetrical hierarchical structure, differentiating "main" and "subordinate" elements, with long sentences formed through embedding and recursion. In contrast, Chinese constructs sentences, paragraphs, and texts based on a parallel "dui-speech format". As a monosyllabic language, Chinese characters can transition between simplicity and complexity, creating balanced rhythms conducive to antithetical pairs. The elasticity of Chinese characters engenders the language's inherent musicality. Following the rhythmic features of transforming single characters into compound forms, corresponding prosodic translation strategies emerge, including disyllabification, reduplication, rhetorical repetition, antithetical structures, quadrisyllabic expressions, tonal alternation, alliteration, assonance, and paratactic sentences. This paper examines Business English Translation (2018), edited by Yuan Chunming and Jiang Li, through Wang Li's framework of the "three beauties" in Chinese: symmetry, rhythm, and circularity. Distinct linguistic systems reflect diverse worldviews. The analysis validates Shen Xiaolong's assertion that the Chinese worldview centers on the dynamic flow of "Qi". KEYWORDS: Business English Translation, Antithetical Structure, Repetition, Quadrisyllabic Expressions, Cultural Identity