英語專業(yè)的畢業(yè)論文
英語專業(yè)學(xué)生主要學(xué)習(xí)英語語言、文學(xué)，英美等英語國家歷史、政治、經(jīng)濟(jì)、外交、社會文化等方面基本理論和基本知識，下面是小編為大家整理的關(guān)于英語專業(yè)的'畢業(yè)論文，歡迎大家的閱讀。
1. Research Background
Since Mo Yan received the Nobel Prize in literature in 2012, the translator, Howard Goldblatt has drawn an increasing attention from all over the world. However, scholars only focus their attention on a small part of Howard Goldblatt’s translation. In recent years, quantities of studies have been made on the English version of Red Sorghum 《(紅高粱》) and Wolf Totem (《狼圖騰》), while studies on Goldblatt’s first translation on Chinese literature, Tales of Hulan River, is relatively few and limited.
The existing researches are conducted mainly from the perspective of culture, adaptation and selection, stylistics, etc. It is found that there are two articles examining the English translation of the Hulanhe Zhuan using postcolonial translation theories. The authors only focus on one aspect of postcolonial translation theories, hybridity. However, it’s safe to say that Goldblatt, as a translator from the strong culture, is influenced by the power differential and his translation, in some way, represents cultural hegemony. Therefore, a deeper analysis through probing into two aspects of postcolonial translation theories, the power differentials and hybridity is of great necessity.
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2. Research Methodology
Postcolonial theory, which grows up and attracts the world’s attention in 1970s, mainly focuses on power and identity, criticizes cultural hegemony, introspects the complicated relations in the colonial systems and investigates the influence of colony to the present world. The postcolonial translation theory, established in the postcolonial critical context, is a series of research methods on translation.
Guided by this theory, this thesis tries to carry out a study on the postcolonial features in the English version of Hulanhe Zhuan and the translation strategies adopted by the translator through probing into specific examples from two angles of power differentials and hybridity. Just as Theo Herman holds that translation study is “an interplay of theoretical models and case studies” (Herman, 1985: 9), this thesis is based on both theory and case studies. Based on the examples collected from both the Chinese version and English version on linguistic and cultural levels, this thesis explores a qualitative-based investigation under the guidance of postcolonial translation theory and its application in the translation of Hulanhe Zhuan.
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Chapter 1 Literature Review
1.1 Previous Studies on Hulanhe Zhuan
Since Hulanhe Zhuan came into being, it has attracted a lot of scholars devoting their studies to this novel. Particularly after 1980s, more and more studies on this novel have been carried out from varied angles. First, many domestic scholars focus their studies on the artistic features of Hulanhe Zhuan. Zhang Guozhen (張國禎, 1982), in his A Lyric Symphonic Poem of National Sorrow and Native Life—A Review of Hulanhe Zhuan, points out that enriched symbolism and lyricism are two essential methods of the novel.
In Dramatic Irony—On the Unique Qualities of Writing Style of Xiao Hong’s Novels, Ai Xiaoming (艾曉明, 2002) writes in detail about the stylistic features of Hulanhe Zhuan to reveal the dramatic irony in this novel, and he also emphasizes the dramatic irony must be paid enough attention to. Wen Guiliang (文貴良, 2007), in his Literary Chinese and Generation of Their Meaning in Hulanhe Zhuan, studies the features of Xiao Hong’s language.
He tries to find out how can these literary Chinese words give readers a sense of solitude that penetrates the flesh and blood to the bone. Based on this, Wen holds that Xiao Hong’s language, on one hand, carries on the tradition of vernacular Chinese, and on the other hand, creates Xiao Hong’s own feature. Zheng Li (鄭莉, 2008), in her Unique Expression of Compassion and Understanding—A Brief Comment on Text Characteristics of Xiao Hong’s Novel Hulanhe Zhuan, focuses on how Xiao Hong uses her special expressive ability to create and complete Hulanhe Zhuan whose style is among novel, prose and poem. Zheng Li carries out her study on such aspects as the creative structure, the poetic language and the repetitive lyric art.
Other scholars, for instance, Xu Huihui (徐慧慧, 2011), Ye Yunjia (葉云佳, 2009) and Li Jun (李鈞, 2012) attempt to study Hulanhe Zhuan from the perspective of aesthetics. Lu Zhining (盧志寧, 2010), Zhang Liwen (張麗文, 2011) and Wang Ke (王科, 2004) examine how Xiao Hong presents a sense of solitude and misery in her Hulanhe Zhuan.
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1.2 Previous Studies on the English Version of Hulanhe Zhuan
Compared with the researches devoted to Xiao Hong’s Hulanhe Zhuan, the number of research papers on its English translation by a famous sinologist, Howard Goldblatt, is comparatively small. Some foreign scholars make some comments on Howard Goldblatt’s translation of this novel since its publication. In his translation, Goldblatt tries his best to transfer the charm of the original text. However, some target readers can’t fully appreciate the style of this novel. It is composed of trivial events and short, slow-pace and prose-like sentences and therefore, it’s quite different from the traditional Chinese novels. Theodore Huters’s (1981) comments on the translation of Hulanhe Zhuan are like this, “It must be admitted that the constant reiteration of trivial acts in Tales of Hulan River requires just such virtuoso technique to keep from sliding into outright tedium.
Though Goldblatt is an excellent translator, he cannot always replicate the intricate prose rhythms of the original.” However, some scholars appreciate Goldblatt’s selection of Xiao Hong’s novel and his translation. D. E. Pollard (1981) speaks highly of Goldblatt’s translation of Hulanhe Zhuan. He deems it as an excellent selection of works for translation, and a brave and generally successful try at execution. He said, “It is not only accurate, but positively pleases at times as an example of good writing in English.” (Pollard, 1981) As for the language in the English version of Hulanhe Zhuan, Joe C. Huang (1980) points out in his review in The China Quarterly that the translator has been both sensitive and faithful in his grappling with Xiao Hong’s extraordinary writing style punctuated with north-eastern dialect.
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Chapter 3 Analysis of the English Version of Hulanhe Zhuan........ 20
3.1 Xiao Hong and Her Hulanhe Zhuan .... 20
3.2 Howard Goldblatt and Tales of Hulan River ..... 20
3.3 Power Differentials Manifested in Tales of Hulan River ........ 21
3.4 Hybridity Manifested in Tales of Hulan River ......... 33
3.5 Comments on Goldblatt’s Tales of Hulan River ....... 46
Chapter 3 Analysis of the English Version of Hulanhe Zhuan from the Perspective of Postcolonial Translation Theory
3.1 Xiao Hong and Her Hulanhe Zhuan
Xiao Hong, an influential women writer in Chinese literary world in the 20th century, is praised as one of “the four most talented women in the Republic of China” and “the Goddess of Chinese literary circles in 1930s”. Her works hold an important position in the development of Chinese modern literature. Her seemingly common writing techniques have symbolic significance and artistic value in many aspects. Hulanhe Zhuan, written by Xiao Hong in Hong Kong in 1942, the hardest phase of Anti-Japanese War, is a long novel with distinct features.
Writing in the mist of on war time, Xiao Hong focuses on an innocent child’s memory rather than war or rebellious spirit. Goldblatt commented it, “Xiao Hong has her own ideas and her own style to transmit them; her choices make her a writer instead of a propagandist, therefore, her work became the most remarkable one at that time.” (Goldblatt, 1985) Hulanhe Zhuan, the masterpiece of Xiao Hong, is ranked in the top 100 of Chinese novels in the 20th century by Asia Week.
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Conclusion
Under the guidance of postcolonial translation theory, this thesis conducts a detailed study on the translation strategy in the translation of the English version of Hulanhe Zhuan. On the basis of the previous discussion of translation strategy on linguistic aspect and cultural aspect of the English version of Hulanhe Zhuan, a conclusion about its features, as well as its significance could be made as follows. The thesis, conducted from two dimensions, power differentials and hybridity, finds that the translation strategy of domestication and foreignization are not opposite to each other, but in a dialectical unity, or we may say that they form moderate hybridity. As a translator from strong culture, Goldblatt is more or less affected by the ideology of power differentials.
In the translation of words and expressions with Chinese characteristics, the translator has to consider the problem of functional equivalence. Generally, western readers who are not provided with sufficient information about the Chinese language and culture are not able to fully understand the translation. When a domesticating strategy is employed, the TL readers are inclined to believe that they are reading a book written by an English writer.
On the other hand, foreignization is employed when words and expressions about Chinese culture such as religion, folk customs, measure words etc. are to be translated. Religion and custom are marked characteristics of a nation. They signify a nation’s cultural identity. Goldblatt familiarizes the TL readers with the Chinese culture by maintaining Buddhism, Taoism and folk activities in the source text. Furthermore, the translation strategy of foreignization plays an important part in enriching the literary approaches and patterns, as well as the expressing techniques of a culture. Through foreignization is believed to make a translation transparent, reproduction of the translator to the source culture is reduced to the minimum.
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The reference (omitted)
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