In the formulation of the new, translated text, there are no doubt equivalent linguistic structures, but they do not result from direct or mechanical corresponding process, rather they are the necessary coincidences of two languages since there exist similarities between them. On the other hand, in the process of reproduction the psycho-logical tendency of the translator would permit him to equate the linguistic items with the original ones. This processing result is quite different from mechanical corresponding translation in that, in the former action, the translator acts as a creative artist (like the author), while in the latter case, he is a mechanical simulator. In Holmes' translation model, the translator as a reader abstracts a "map" of the original text (Map Tsl), then on the basis of this map he develops a second map (Map Ttl). Perhaps for translators who translate from a text of their native language to that of a foreign language, it might be the case, while for translators who conduct translation vice versa, it might not always be the case. But no empirical data so far has shown the justification of this assumption. The present study assumes an "image-G”at the mental transferring stage without classifying it into Image-Tsl and Image Ttl, for we further assume that the "image-G" is the interactive result of both SL and TL. It is this translational image-G that the translator mentally actualizes in his aesthetic experience of the S-text. Analysis of translated versions mainly by Chinese translators who translate English texts into Chinese will be provided to test the hypotheses.
To sum up, the essential argument of this model rests on the following assumptions:
(1) In literary translation, the translator's interpretation of the literary text undergoes an aesthetic progression (the process of aesthetic image actualization).
(2) The aesthetic progression or the process of aesthetic actualization is an image building process from ST to TT organization.
(3) The aesthetic actualization or image building is realized in the constant interaction between the translator and the text.
(4) Image-gestalt is a universal property existing in the literary text and the literary work of art can be called as such only if it produces artistic image, which is a gestalt instead of isolated items. As de Beaugrande and Dressler have it,“A text‘makes sense' because there is a CONTINUITY of SENSES among the knowledge activated by the expression of the text" (1981) . This "continuity of senses" constitutes the main structure of the image-G.
(5) At the decoding stage, the formulation of image gestalt functions to facilitate the translator's aesthetic experience, while at the recoding stage, the translator makes use of the image gestalt to bind together various items to form an organic whole so that the target reader can accept the new text in a similar way and have a similar aesthetic experience.
(6) Proper operation of aesthetic faculties such as imagination and reflection can facilitate image-actualization and representation.
(7) Successful literary translation results from image representation apart from text-representation, text in the sense of formal linguistic structure. The linguistic equivalents in the translation are mainly due to similarities in the two languages - ST and TT on the one hand, and the psychological tendency of the translator on the other hand.
(8) The linguistic approach is essential and fundamental, whereas image-G actualization is also indispensable in literary translation.
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